Friday, April 17, 2026

Takako Saito: Schachspiele + Performance 1989




Takako Saito
Takako Saito: Schachspiele + Performance 1989
Wiesbaden, Germany: Harlekin Art, 1990
24 pp., 14.8 x 12 cm., softcover
Edition size unknown


Twelve perforated postcards, each with an image of the artist with added cartoon speech bubbles with space for the owner to add their own texts before sending. 

Thursday, April 16, 2026

Takako Saito | Schachspiele, Spiele und Bücher







Takako Saito
Schachspiele, Spiele und Bücher
Weissbaden, Germay: Harlekin Art, 1989 
[2] pp., 10 x 16.5 cm., 
Edition size unknown


An announcement card in the shape of a Saito’s signature bowler hat for an exhibition of chess games, games and books that ran from the 23rd of June to the 28th of July, 1989. 




Maddie Lycheck

 






Wednesday, April 15, 2026

Advice from David Shrigley










Seven signed and numbered prints by David Shrigley. 



Monday, April 13, 2026

Emma Kay | Worldview






Emma Kay
Worldview
London, UK: Bookworks, 1999
224 pp., 21 x 15 cm., softcover
Edition of 1500


In Worldview, Emma Kay recounts a history of the planet told entirely from unaided memory. It begins with the big bang, and ends with apocalyptic visions suggested by the then-imminent end of the millennium in 1999. The piece was first realized as a high-resolution ink-jet print [see below], with a typeface and layout designed by the artist. The spaces between the paragraphs indicate omitted material, their size related to the artist’s perception of her memory lapse. The large digital print (176 x 270.5 cm) was produced in an edition of three.

The content, presumably from half-remembered exam text books, period piece movies, novels and magazine articles, features major omissions and dodgy information, presented in a neutral tone. Two sample paragraphs:

"Apes’ upper limbs were long and strong, and were known as arms. Their brains were much larger in relation to their upper body weight than the dinosaurs’ brains. About a million years ago apes were multiplying rapidly, they appeared all over the Earth in pockets. They lived in social groups, which were hierarchical. They were herbivores. Most lived in trees but some had begun to live on the ground. The apes had the biggest brain in relation to their body of all the creatures so far. Their brain continually evolved, and their social interaction grew more complex.”

[...]

"After all the Ice Ages, and as the Sun continued to get hotter, the Earth became a nicer place to live again. Some of the mammals had begun to try to walk on two of their legs, to reach food that was growing on trees. They were the apes. Dinosaurs gathered food this way too, but their upper limbs were quite weak in comparison to the lower ones. Apes’ upper limbs were long and strong, and were known as arms. Their brains were much larger in relation to their upper body weight than the dinosaurs’ brains. About a million years ago apes were multiplying rapidly, they appeared all over the Earth in pockets. They lived in social groups, which were hierarchical. They were herbivores. Most lived in trees but some had begun to live on the ground. The apes had the biggest brain in relation to their body of all the creatures so far. Their brain continually evolved, and their social interaction grew more complex. They made very rudimentary tools to assist with food-gathering. They protected each other, not just their offspring. They spent a proportion of their time in play, since they were so good at gathering food that they did not need to do it all the time. Their predators were larger mammals such as lions and tigers, wolves and bears. As they became more intelligent, they learned how to avoid being eaten. They were a very successful species, and this fact enabled them to multiply and evolve at a quick rate."

Worldview follows Kay's The Bible from Memory (1997), a 7,500 word single page retelling of the King James Bible and Shakespeare from memory. Similarly, Worldview tells a global history bookended with creation and destruction, and represents an attempt at classification which reveals the flaws inherent in all histories.

The cover map is drawn by the artist, also from memory.


"When I am writing I always imagine myself in some kind of virtual computer environment and think of my memory works as hypertexts. The associative and cognitive links people make are the very ones which computers try to emulate, and even represent. Hypertext is an apparently objective attempt to impose order over chaos and to get to grips with vast resources, though its subjectivity is inescapable. It seemed to me to be interesting to represent this attempt visually."
- Emma Kay








Sunday, April 12, 2026

Richard Artschwager: No More Running Man









[Richard Artschwager]
Richard Artschwager: No More Running Man 
Los Angeles, USA: Gagosian, 2014
88 pp., (20.9 × 27 cm., hardcover
Edition size unknown


"This book was published on the occasion of Richard Artschwager: No More Running Man at Gagosian, 980 Madison Avenue, New York, which coincided with a major touring retrospective of the artist’s work organized by the Whitney Museum of American Art in collaboration with Yale University Art Gallery. The exhibition presented Artschwager’s last series of work, variations on the motif of an isolated figure derived from a photograph—clipped from the Boston Globe—showing a man running through a park during the winter of 1989. Artschwager reimagined the image in several works beginning in 1991 and used it as the basis for this final series depicting one, two, or three monochrome silhouettes repeated or mirrored on plastic or paper. Presented in deep frames, each entry doubles as a sculpture and erases distinctions between synthetic and organic surfaces, the everyday object and the work of art.

The publication includes color productions of the twenty-five works in the exhibition as well as a preface by Bob Monk and an illustrated essay by Robert C. Morgan. The book design features a die-cut silhouette of the running man’s shape on the front and back covers, mimicking the mirrored laminated figures in Running Man (double blue) (2013).”

The book is available from the publisher here for $60 US. 

Approximate Objects [below] is on display until this Friday, April 17.












Richard Artschwager | Hydraulic Door Check












Richard Artschwager
Hydraulic Door Check
Koln, Germany:  Verlag der Buchhandlung Walther Konig, 2002
256 pp., 18.5 × 24 cm., hardcover, boxed
Edition of 500 signed and numbered copies


Housed in an archival cardboard box (21.9 × 26 cm.), the deluxe version of this 2002 exhibition catalogue is covered with the rubberized horsehair that the artist frequently used in his unique sculptures and multiples. The book was published in conjunction with a show held at MAK, Vienna, Austria, from March 27th to June 16th, 2002, curated by Daniela Zyman.

Edited by Peter Noever, the volume includes texts (in both English and German) by Jörg Heiser, Anthony Vidler, and John Yau.  These essays "consider Artschwager's artistic development, the meaning of surface quality in his work, and his place within the context of relevant art movements."

The work is available to purchase for $1000 from Gagosian gallery here. The work is available to purchase for $1000 from Gagosian gallery here

The work is part of Approximate Objects, an exhibition of sculptural multiples by Artschwager that is on view at Gagosian’s gallery and shop in the Burlington Arcade, London. The presentation surveys sixteen editioned works created between 1969 and 2012, alongside a selection of the artist’s publications and prints.