Stephanie Weber, Rochelle Feinstein, Verlag der Buchhandlung Walther König, 2016
Building on an extensive painting lexicon, Rochelle Feinstein employs an array of styles and media, such as silkscreen, photography and assemblage, hard-edged graphic compositions as well as expressionist factures.
These combined manners and processes cross-reference the historical with the vernacular, the mythologies of the avant-garde, as well as popular culture. At once social commentary and autobiographical incidents, her work offers a biting reflection on the role of an artist working in the arena that is painting in America today.
This catalogue is published on the occasion of In Anticipation of Women’s History Month which is the first comprehensive retrospective exhibition of Feinstein’s work in 2016-18, at Centre d’Art Contemporain Genève; Städtische Galerie im Lenbachhaus, Munich; kestnergesellschaft, Hannover; and the Bronx Museum of the Arts, New York.
With texts by Tenzing Barshee, Fabrice Stroun and Christina Vegh.
Heimo Zobernig, Books & Posters, Verlag der Buchhandlung Walther König, 2016
The Vienna-based artist Heimo Zobernig has achieved wide recognition for his sculptures, paintings, videos and performances. With works that respond to the legacy of the discourses and themes of formalist, abstract and Minimalist art, often establishing a close dialogue with the architecture and history of a specific place, he is an important representative of the artists associated with 'Kontext Kunst' (Context Art) in the German-speaking art scene of the 1990s. This survey book offers an original and comprehensive overview of the ways Zobernig has engaged since 1980 with an expanded notion of publishing as a way to explore the linguistic aspects of art. Ingeniously designed by the graphic studio Oficina de disseny based in Barcelona, it presents 114 artist's books, monographs and exhibition catalogues as well as 117 posters that, thanks to an essay by Anja Dorn that contextualises them, sheds light on a rarely commented side of Zobernig's multi-faceted practice.
With texts by Diana Baldon, Anja Dorn, Moritz Küng & Heimo Zobernig.
Seth Siegelaub, Beyond Conceptual Art, Verlag der Buchhandlung Walther König, Stedelijk Museum, 2016
Seth Siegelaub was a man of many talents, many of which remain unknown to the general public. The exhibition catalogue Seth Siegelaub: Beyond Conceptual Art explores Siegelaub’s colorful life on the basis of an extensive chronology. Containing several essays and other unpublished material including interviews, archival materials and images, the catalogue offers an original survey of Siegelaub’s work and of his vast and varied career.
The exhibition and catalogue have been compiled by Leontine Coelewij and Sara Martinetti. The catalogue contains contributions by Julia Bryan-Wilson, Jo Melvin, Götz Lankau and others, and is designed by Irma Boom.
Lucy McKenzie, Alan Michael, Unlawful Assembly, Verlag der Buchhandlung Walther König, 2015
Unlawful Assembly is a collection of interrelated short stories by the artists Lucy McKenzie and Alan Michael. First published in a limited edition, it was intended as a cheap holiday read to entertain summer visitors to the Mediterranean island of Stromboli, and as a site-specific work.
Wolfgang Tillmans, FESPA Digital / Fruit Logistica, Verlag der Buchhandlung Walther König, 2012
In February 2011, German photographer Wolfgang Tillmans decided to visit Fruit Logistica, the most important convention in the international fruit trade, held annually in Berlin. More than 2,400 fresh produce companies gather at the convention, presenting a dazzling panorama of texture and color. "I was left open-mouthed by the crazy displays and the variety and complexity of the international fruit trade and its processing machinery," he records. "I reacted with my camera straight away." The resultant 66 color photographs are published here for the first time.
Wolfgang Tillmans, The Cars, Verlag der Buchhandlung Walther König, 2015
This book looks at a cross section of what cars ʻactuallyʼ look like in a global sampling and how they interact with the environment around them.
"I wanted to show how cars appear in typical street view, which is rarely the subject of photographs. Cars are usually avoided in photography - one waits until a car has exited a view. The ordinary presence of cars is rarely worthy of representation. It's always the special car, or the extreme traffic jam or, of course, the exciting crash that is being pictured. The Cars pays tribute to the shapes and forms we look at every day. How much time we spend with them, sitting inside them, the endless hours we stare at a dashboard. Even if we don't own a car ourselves, their presence is unavoidable. Cars are everywhere. Their sheer number is the most crazy thing about them. They appear in our lives with excessive omnipresence. In their volume cars intrude upon public space, and the way they occupy streets and open areas is rarely challenged. Virtually wherever there are people, there are cars and they are visually intermingling in whatever we see. We are looking at the world from a car and cars are in the foreground, the background or in between of what is in our view. Where they are, they add a tone, a note, a presence, a noise to the setting they're in. [...]" - Wolfgang Tillmans
Anonymous, Why I Got Into Art (Vaseline Muses), Verlag der Buchhandlung Walther König, Jablonka Gallery, 1991
Artist's book by "Anonymous" aka: Mike Kelley, detailing why he got into art -- naked women. Essay by Diedrich Diederichsen. Contains 22 photographs, in black-and-white, manipulated to have soft-core porn qualities of Yoko Ono, Lynda Benglis, Hannah Wilke, Carolee Schneemann and other woman engaged in nude dance performances, guerrilla actions, happenings, avant-garde theatre, actions, performances, gallery advertisements, body art, gesture art, etc. Published as two entities, back-to-back & upside down from each other, in one volume. Text in English and German.
Mel Bochner, Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art, Cabinet des Estampes, Verlag der Buchhandlung Walther König, 1997
Originally conceived as an exhibition, shown at the Visual Arts Gallery, School of Visual Arts, New York, December 2 - December, 1966, Bochner compiled notebook pages and working drawings by Carl Andre, Jo Baer, John Cage, Tom Clancy, Dan Flavin, Milton Glaser, Dan Graham, Eva Hesse, Alfred Jensen, Donald Judd, Michael Kirby, William Kolakoski, Robert Lepper, Sol LeWitt, Robert Mangold, Robert Moskovitz, Robert Smithson, Kenneth Snelson, and others into a xeroxed volume which was then presented in four identical copes, each on their own pedestal.
This edition of the Working Drawings and Other Visible Things on Paper Not Necessarily Meant to be Viewed as Art by Mel Bochner is published on the occasion of the exhibition Mel Bochner | Projets à l'étude | 1966-1996 at the Cabinet des estampes du Musée d'art et d'histoire, Geneva (February 27 to April 3, 1997). The edition was printed from the photocopies dating from the 1996 installation contained in the first binder of the Working Drawings.
This publication, inspired by the original presentation, consists of four identical volumes, plus a new volume of critical texts on the work within a slipcase. Fifth volume texts by Christophe Cherix, Laurent Jenny, James Meyer in French and English.
Frances Stark, The Collected Works, Verlag der Buchhandlung Walther König, 2007
The Los Angeles-based artist and art writer Frances Stark has gathered an international cult following for her prolific prose and her smart, honest and intimate artwork. This engaging artist’s book is conceived as a companion piece to Stark’s Collected Writings 1993–2003, fashioning itself as a graphic counterpart that draws from the artist’s paintings, collages, drawings, videos, poetry and more, from 1993 to the present. Through provocative and diaristic text notes printed alongside Stark’s sometimes humorous, often self-scrutinizing images, The Collected Works addresses the paradox of reproducing visual art that is essentially non-photogenic by nature—because of its tactility, detail or scale. The book formally addresses how verbiage flows in and out of the work(s), and leaves no space for the legitimizing language of the critic or curator. Neither a typical catalogue nor monograph, it pushes for a third form, a new art work constructed from existing pieces.