Always Starts with an Encounter Wols & Eileen Quinlan

Published by Radio Athènes, Athens and Sequence Press, New York, 2019, 220 pages (colour & b/w ill.), 18.2 × 22.7 cm, English

Price: €30

Wols (1913–1951) was celebrated posthumously as one of the pioneering artists of the Art Informel movement. His distinctive early photographic work of the 1930s is however very little known. In an unusual travel across time and space his work is discussed in connection to that of contemporary American artist Eileen Quinlan (b. 1972). This book, a companion to the eponymous exhibition Always Starts with an Encounter, Wols-Eileen Quinlan, curated by Helena Papadopoulos and organized by Radio Athènes at the Museum of Cycladic Art, Athens in 2016, further explores the relationship between the work of the two artists through an indexical structure, various textual forms and inflections, different registers of images and close-up textures that act like another text. Spectral and suggestive, but also precise and factual it reflects on a circular idea of time as it wanders in the abstruse physicality of the photographic.

Texts by Quinn Latimer, Laura Preston, Helena Papadopoulos, Oliver Berggruen. Designed by O-R-G Inc., David Reinfurt

#2019 #abstractphotography #davidreinfurt #eileenquinlan #josephinepryde #laurapreston #photography #quinnlatimer #sequencepress #wols
DURCH 12 Maxine Kopsa (Ed.)

Published by Grazer Kunstverein, Graz 2014, 108 pages (colour & b/w ill.), 16.5 × 24 cm, English/German

Price: €15

Josef Bauer, Körpergalerie,1974
Dear Trisha Brown – A letter from Robert Wilhite
Dear Mr Christopher Williams – A letter from Robert Wilhite
Nina Beier – In tribute to time spent walking with Will (2013)
Will Holder – Caption card (2014)
Democracy is Empty, A conversation between Doug Ashford and Mierle Laderman Ukeles, originally published in Documents, no.10, Fall 1997, pp. 23-30
Lucky Dime, for Seth Siegelaub by Willem Oorebeek
Thoughts on control by Raivo Puusemp
Jan Mot and Germaine Kruip in discussion about Ian Wilson
A letter to Céline Condorelli by Tyler Coburn
A conversation between Eva Berendes and Doug Ashford
A conversation between Lucy Skaer and Willem Oorebeek
Invited by Tirdad Zolghadr, Marina Noronha’s Curatorial Systems Manifesto (as a response to Mierle Laderman Ukeles)
Céline Condorelli, Three letters to all and no one – strangers, friends, collaborators, allies
Notes on a lunch meeting (with Willem Oorebeek) by Kate Strain
Sarah Browne, Remembering Gray, 2013 – In collaboration with Alice Lyons
Beatrice Gibson, A letter to Axel Wieder (and also implicity to Will Holder)
David Reinfurt and Stuart Bailey – A conversation
Victoria Dejaco – Lantern slides

Designed by Marc Hollenstein.

#célinecondorelli #christopherwilliams #davidreinfurt #dougashford #ianwilson #janmot #josefbauer #lucyskaer #marchollenstein #maxinekopsa #mierleladermanukeles #ninabeier #robertwilhite #sethsiegelaub #stuartbailey #tirdadzolghadr #trishabrown #willemoorebeek #willholder
The Sun as Error Shannon Ebner

Published by Wallis Annenberg Department of Photography, LACMA, 2009, 64 pages (b/w ill.), 27.95 × 36.85 cm, English

Price: €110

The Los Angeles based artist Shannon Ebner extends her exploration of photography, sculpture and language in this remarkable book, The Sun as Error. In collaboration with Dexter Sinister (design duo David Reinfurt and Stuart Bailey), The Sun as Error re-investigates the meaning and language of photographs, creating both an open-ended reading of her practice and also rethinking the idea of an artist’s monograph. Far from straightforward, the book interweaves her bodies of work, previously unseen one-off pieces, with the language of technical diagrams, optical illusions, and graphic design. One of the persistent motifs through the book’s sequence is an asterisk and, specifically, one imbued with the legacy of the graphic designer Muriel Cooper. As the first design director for MIT Press and the cofounder of the Visible Language Workshop, Cooper’s legacy for reorienting and repositioning the direction of an artist’s monograph is imaginatively explored in the creative partnership of Dexter Sinister and Shannon Ebner.

#2009 #davidreinfurt #dextersinister #shannonebner #stuartbailey
The Sun As Error Bootleg Shannon Ebner

Published by Dexter Sinister, New York, 2011, 246 pages (b/w ill.), 15 × 20.5 cm, English

Price: €55

Los Angeles artist Shannon Ebner extends her exploration of photography, sculpture and language in this remarkable book, The Sun as Error. In collaboration with Dexter Sinister (design duo David Reinfurt and Stuart Bailey), The Sun as Error re-investigates the meaning and language of photographs, creating both an open-ended reading of her practice and also rethinking the idea of an artist’s monograph. Far from straightforward, the book interweaves her bodies of work, previously unseen one-off pieces, with the language of technical diagrams, optical illusions, and graphic design. One of the persistent motifs through the book’s sequence is an asterisk and, specifically, one imbued with the legacy of the graphic designer Muriel Cooper. As the first design director for MIT Press and the cofounder of the Visible Language Workshop, Cooper’s legacy for reorienting and repositioning the direction of an artist’s monograph is imaginatively explored in the creative partnership of Dexter Sinister and Shannon Ebner. This 2011 reprinted bootleg version of the original monograph is printed in a black and white paperback book.

#2011 #davidreinfurt #dextersinister #shannonebner #stuartbailey