Sculture e disegni 1984–85 documents an early, concentrated phase in Josef Dabernig’s work, bringing together sculpture and drawing as parallel, method-driven investigations.

This publication originates from a collaboration with David Aerne, a color scientist and long-term creative partner. Together, we explored generative gradients and examined what happens when color becomes the primary structural parameter of an artwork.

For artist Wolfgang Tillmans, portraiture is a collaborative process between photographer and accomplice.

This comprehensive new exhibition catalogue, published to accompany the Solomon R. Guggenheim Museum's major mid-career survey of Catherine Opie's work,

Pierre-Olivier Arnaud’s work operates at the intersection of photography, installation and spatial perception.

This publication examines the furniture designs of Charles Rohlfs, one of the most distinctive figures associated with the American Arts and Crafts movement.

Eau De Cologne was a short-lived but influential art magazine project associated with the Cologne contemporary art scene of the 1980s.

This edition of Donald Albrecht’s comprehensive study offers an in-depth examination of the life and work of Andrée Putman.

Bernd Stiegler. Nadar. Bilder der Moderne ist ein kunst- und kulturwissenschaftlicher Band, der sich mit der Bildproduktion und der

The series of portraits in this book, which include Pussy Riot member Yekaterina Samutsevic and many other Moscow citizens, were created by a machine:

David Robilliard: The Yes No Quality of Dreams is a focused artist monograph on the poet, painter, and performer

America von Roland Schappert versammelt Zeichnungen und typografische Arbeiten, in denen sich der Künstler mit Sprache,

Stadtbad von Inge Mahn dokumentiert eine skulpturale Arbeit, in der die Künstlerin architektonische Formen und soziale Räume untersucht.

In his series Beyond The Sky And The Sea, photographer Eric Asamoah presents portraits and landscapes that evoke a quiet, contemplative atmosphere.

In 2020 Collier Schorr began drawing from photographs she had made of the artist Nicole Eisenman, a solitary practice that had its roots in her fascination with the doppelganger and the possibility of seeing one’s face in another.

Christoph Ruckhäberle (*1972) ist einer der herausragenden Vertreter der zeitgenössischen Leipziger Malerei. Bis 2002 war er Meisterschüler bei Arno Rink,

In issue 45, featured artists include Britta Marakatt-Labba, Rasheed Araeen, Rebecca Belmore, and Zai Kuning. Essays include Alec Finlay on indigeneity, nationality, and statehood in Scotland; Ana Texeira Pinto on the Portuguese art scene; and Wanda Nanibush and Walter Mignolo on indigeneity and decoloniality. Also Stefano Harney on Ground Provisions, Anthony Gardner on Documenta Athens and Kassel, and Vincent W. J. van Gerven Oei on Anri Sala’s Intervista.

Michel Butor’s Description of San Marco (1963) is an unusual book; an unorthodox intermingling of overheard dialogue from the iconic Venetian square in question, thick descriptions of persons and buildings, along with sober historical information. In the original,

This artist's book is characteristic of Jean-Michel Wicker's work with typography and graphic design. It features a series of graphic works, a “tree of life” produced in collaboration with Marlie Mul, a text by Harry Burke, and a recipe for Alsatian plum pie by Charlotte Wicker. The publication's inserts reproduce collages and paintings by Wicker.

The Donaufestival 2010 in Krems was held under the theme "Failed Revolutions" and featured a diverse program of music, performance, and visual arts. In the visual arts segment, Franz Graf and Christian Jankowski were among the artists showcasing their works. Media art pioneer Paul DeMarinis also presented pieces that combine sound, light, and technology. A catalog for the art exhibitions was self-published by the artists, providing additional insights to accompany the festival program.

1958 auf der Werkkunstschule in Offenbach entwickelte Franz Erhard Walther eine eigene Typographie, die ohne Diagonalen auskommt. Im vorliegenden Künstlerbuch bildet er mit ihnen so genannte »Werksätze« – auf jeder Seite ein Buchstabe, jeweils einer Szene aus seinem Leben aus den Jahren 1954 bis 1973 gegenübergestellt, beispielsweise einer

2010. Atlas of Transformation is a sort of global guidebook of transformation processes. With structured entries, its goal is to create a tool for the intellectual grasping of the processes of social and political change in countries that call themselves "countries of transformation" or are described by this term. The Atlas of Transformation was first published in Czech and it contains more than 200 "entries" and key terms of transformation.

A two-volume artist’s book highlighting the sculptor’s protracted career and stringent works
Designed by American conceptual sculptor Cady Noland (born 1956), The Clip-On Method’s two volumes can be picked up and read in any order: back to front, front to back, or started in the middle. Readers take it upon themselves to weave their way through Noland’s tangled oeuvre.

Weaving as a Metaphor offers the intimate side of the artist's oeuvre. . . . Emulating a gallery setting, the catalog, itself a work of art, presents each weaving on a separate page. Trenchant information as well as thought-provoking essays--by Arthur C. Danto, Joan Simon and Nina Stritzler-Levine--archival photographs and notebooks round out this wonderful publication.

In 2018, the Museum Villa Stuck presented a comprehensive retrospective with works by the goldsmith and silversmith Rudolf Bott. The book accompanying the exhibition is a 672-page monumental work. Far from a usual catalog with colorful illustrations, it is "thought in black and white" like the entire exhibition. With a 340-page photo report by Jörg Koopmann and Lene Harbo Pedersen, who photographed the objects across Europe at the lenders and in Bott's studio.

Walter Obholzer: 7.12.2000 – 21.1.2001 documents the exhibition of works by the Austrian artist Walter Obholzer during the period from December 7, 2000 to January 21, 2001.

Exhibition catalogue published in conjunction with the Austrian pavilion of the 45th Biennale of Venice held in 1993 featuring Andrea Fraser, Christian Philipp Müller and Gerwald Rockenschaub. Texts by Helmut Draxler, Chantal Mouffe, Albert Müller, Michael Müller, Felicia Riess, Otto E. Rössler, Peter Weibel and Slavoj Žižek. Includes biographies and a checklist of the exhibition. Text in English, German and Italian.

The starting point here is the relation between writing and time, object and text, hence the title “Schreibtischuhr” (writing desk clock).

FUKT Magazine, one of the world’s leading, engaging and inspiring drawing magazine returns for its 20th edition. This new anniversary release looks at the art of portraits in drawing.

This publication documents the 2016 exhibition “One, No One and One Hundred Thousand,” which took place at Kunsthalle Wien, Karlsplatz.

Bernhard Cellas Panoptikum an rekonvaleszenten Männern - quer durch ein Jahrhundert - demonstriert eine Ikonografie des medizinischen Fortschritts und die Typologie der mise en scène, der bald wieder in den Alltag Zurückkehrenden.

Bei dieser Publikation handelt es sich um ein Künstlerbuch das anlässlich der Ausstellung "Mathias Poledna. Actualité", welche im Grazer Kunstverein stattfand, erschien.

Dangerous Bodies brings together artist Barbara Kapusta’s recent writing. Designed by Sabo Day Font: Silom, Dangerous Bodies

Riso print, 68 pages, no illustrations

Jonathan Monk (born 1969 in Leicester, UK) is a conceptual artist whose practice centers on appropriation, repetition, and displacement.

With “Markings”, the KW Institute for Contemporary Art and Spector Books are initiating a series of small-format, polymorph publications. They will be produced together with artists who have exhibited, intervened, or performed at the Kunst-Werke.

FOOTNOTES TO ONE'S OWN PRODUCTION --- In Liner Notes we introduce a number of books produced in recent years by book designers who had studied at the Leipzig Academy of Visual Arts.

The Édition Séparée is a series that aims to give female artists the opportunity to make authentic contributions to the tradition of the artist's book. Without any art-historical explanation or interpretation, the individual issues in this series contain only what the artists wanted to realise.

„Ich habe ein zerstörtes Gesicht“ – das ist die Wahrheit, in der sich die Erzählerin, bevor sie zu erzählen anhebt, wiederzufinden versucht. Deshalb muss sie erzählen.

"Gewöhnlich arbeite ich hauptsächlich nachts. Nachts fällt das Licht nur auf die Leinwand. Alle anderen Objekte liegen im Schatten, und so kann ich nicht leicht abgelenkt werden. Außerdem fühle ich mich manchmal nachts wirklich wie ein Künstler, es ist ruhig, ich höre nur den Pinsel. Manchmal bekomme ich nachts das Gefühl, ein wirklich großer Maler zu sein, während im grellen Tageslicht alles sehr viel normaler ist. Nachts wachsen Phantasie und Gefühl enorm an, tags sind sie konzentrierter, nüchterner; der Tag ist realistischer. Mein Rezept für ein gutes Bild ist nachts anfangen und bei Tag es zu vollenden."

The exhibition “The Promise of Total Automation” investigated our relationship to a world of machines, technological objects, and electronic devices.

French designer Pierre Charpin (b. 1962, lives in Paris) holds a singular position within his field. He became a designer after finishing his Visual Arts studies and started to gain recognition in the mid-1990s. Articulated with a strong and liberated use of colors and materials, his creations—objects, furniture and exhibition designs—deal with the notions of landscape and autonomy, humor and surprise, poetic presence and minimalism.

An incomplete guide for life. Each person written about is represented by a letter, and when an object turns into a subject it is marked in bold.

Why, when we are desperately in love, do we continuously block union with our love object?

Herbert Fuchs’ künstlerisches Schaffen ist untrennbar mit dem Medium Buch und dem Text verbunden. Er arbeitet seit den 1980er-Jahren

This volume is a collection of drawings and captions for “unshowable” photographs taken in Palestine in 1947–50,

Die Publikation begleitet die gleichnamige Ausstellung, die sich dem Verhältnis von Literatur, Philosophie und zeitgenössischer Kunst widmete. Zitate – aus literarischen, poetischen oder theoretischen Kontexten – bilden den Ausgangspunkt für künstlerische Auseinandersetzungen, in denen Sprache nicht bloß referenziert, sondern transformiert, überformt oder konfrontiert wird.

Anne Speier wurde in Frankfurt am Main geboren und lebt in Wien wo sie an der Akademie der Bildenden Künste unterrichtet.

Christoph Meier im Gespräch mit Luca Lo Pinto 29. Oktober 2014

Dienstag Abend 17. Dezember 2014

Das, seit 2010 von Künstler Ezara Spangl und Rainer Spangl kuratierte Kunstvermittlungsprogramm Artist Lecture Series Vienna, gibt Künstler_innen die Möglichkeit vor Kolleg_innen und anderen interessierten Personen über ihre Arbeit zu sprechen sowie die Gelegenheit zur Präsentation einer Originalarbeit. Eine Auswahl an Transkriptionen der abgehaltenen Lectures werden in Form von Publikationen einem breiteren Publikum zugänglich gemacht.

Judith Eister 19. Oktober 2011

Marina Faust 14. März 2012

Assign & Arrange: Methodologies of Presentation in Art and Dance aims to map the exchanges and transgressions between art and dance that characterize the manifold variety of relations between art and dance that can be observed today.

Das, seit 2010 von Künstler Ezara Spangl und Rainer Spangl kuratierte Kunstvermittlungsprogramm Artist Lecture Series Vienna, gibt Künstler_innen die Möglichkeit vor Kolleg_innen und anderen interessierten Personen über ihre Arbeit zu sprechen sowie die Gelegenheit zur Präsentation einer Originalarbeit. Eine Auswahl an Transkriptionen der abgehaltenen Lectures werden in Form von Publikationen einem breiteren Publikum zugänglich gemacht.

Raymond Pettibon first came to prominence during the late-seventies with his raw, literary-inflected imagery for Black Flag, Sonic Youth, and SST Records.

Mit seinem Biennale-Beitrag reagiert Heimo Zobernig unmittelbar auf die Ausstellungssituation in dem 1934 nach Plänen von Josef Hoffmann und Robert Kramreiter gebauten Österreichischen Pavillon, der mit klassischen Rundbögen und hoheitsvoll anmutenden Blickachsen einerseits sowie streng rationalen Formen und modernen Baustoffen andererseits zwischen Historizität und Moderne laviert.

SAN ROCCO is a magazine about architecture.

If you do dare to mention beauty, then some well-intentioned idiot says “beauty is subjective”, as if this in- disputable truth (given that beauty is, of course, subjective) would implicitly mean that nothing subjective and shared (or universal, or common, or whatever you’d like to call it) could possibly exist; as if subjects could never agree, or could never admit their shared nature and recognize themselves in what, in the end, is nothing more than this: the sudden appearance of something that we all like, something to which we would all like to surrender ourselves (i.e., the sudden appearance of beauty). So, yes: beauty is subjective. But this is no reason to stop worrying about beauty.

San Rocco is a magazine about architecture. It does not solve problems. It is not a useful magazine. It is neither serious nor friendly.