Produced on the occasion of the exhibition Marie Laurencin: A Retrospective, held on the 120th anniversary of her birth, at the Tokyo Metropolitan Teien Art Museum, 2003. Marie Laurencin (31 October 1883 – 8 June 1956) was a French painter and printmaker. She became an important figure in the Parisian avant-garde as a member of the Cubists associated with the Section d’Or.

*Please note this publication is secondhand and has some traces of previous ownership.

Brian Eno was the first institutional solo exhibition by Scottish artist Lucy McKenzie at the Neuer Aachener Kunstverein, February 23 – April 27, 2003.

The installation of trompe l’oeil murals and screen-printed posters as well as drawings, sound and light took the symbolic figure Brian Eno as its starting point. As an extraordinary musician, educator, visual artist and “communications advisor” to British New Labor, Eno is emblematic of common debates about avant-garde and quality. Lucy McKenzie used this discourse as a background for her own interpretations of such questions, especially questions that concern functionalism.

Produced for the inauguration of Ten Banners by Marc Camille Chaimowicz at Art at the Centre, Reading on 20 June, 2003.

*Please note this publication is secondhand and has some traces of previous ownership. (Condition: as new)

Wine label designed by Marc Camille Chaimowicz.

Taking its title from the Elaine May’s 1987 film Ishtar, this group exhibition curated by Los Angeles-based critic Bruce Hainley touches on many of the same interests and dichotomies: a comedy that is political and analytical at the same time; an abstraction but also a representation; and a cultural production outside of much discourse. The catalogue traces the attempt to create an informed dialogue for artwork that evades easy classifications and readymade discussions of abstraction vs. representation. Featured artists include: Brian Calvin, Samara Caughey, Lecia Dole-Recio, Trisha Donnelly, Vincent Fecteau, Richard Hawkins, Larry Johnson, Patrick Hill, Cady Noland, Sturtevant.

Isa Genzken’s Der Spiegel 1989–1991 consists of 121 reproductions of black-and-white photographs cut out of the influential German newsweekly Der Spiegel over a period of three years. The images are presented starkly, bereft of photo credits or captions: having been freed from their usual meaning-giving context, the images assume a mystery and free-floating universality as the viewer unconsciously struggles to recall the specificity of the sensational news story and headline to which they were once attached. The book is produced in a limited edition of 700 numbered copies.