'Richard Prince: Everyday' is published on the occasion of the artist's seventh solo exhibition at Sadie Coles HQ, London, in spring 2023.The catalogue documents Prince's recent body of work that expand his iconic Joke Paintings series (first conceived in the early 1980s).In these works, Prince replicates the jokes of the renowned American stand-up comedian Rodney Dangerfield (1921-2004) - best known for disarming one-liners that captured an everyman humour in the banal or a self-deprecating loss of face - layered over palimpsest of the comic's 'psychotropic scrawl' of stage notes made in his later years.The richly illustrated publication features both artwork and detailed colour plates, accompanied by quotes contributed by Jim Carrey, and Dave Hickey in conversation with Sheila Heti.Published on occasion of the exhibition 'Richard Prince: Everyday', 29 Mar - 5 May 2023, Sadie Coles HQ, Kingly Street, London, UK.

Cady Noland: The Clip-On Method

Arts & Photography

Individual Artists

Walther König, Köln

This book is a multivocal account of the work of Zimbabwean artist James Beckett (born 1977). Reproductions of Beckett’s photography, installation and painting are punctuated by associative interjections from British broadcaster Frank Key’s radio show Hooting Yard.

Works of James Beckett with Constant Interjections by Frank Key

This nicely produced, staple-bound pamphlet is the first in a new series of artist-designed publications, scheduled to come out three times per year. This first issue contains a selection of works by Richard Prince, the influential New York artist who first created controversy in the 1970s by working with appropriated imagery--then a quite radical concept. Weighing in at only 46 pages, this slim volume nevertheless contains representative samples of all of Prince's most famous work: biker girls, nurses, sculptures, paintings, tattoo pornography, jokes, and other assorted incendiary images. The next issue of Lynn Valley will be designed by Cologne artist Johannes Wohnseifer.

Richard Prince: Lynn Valley 1

History & Criticism

This artist's book by the influential but deliberately elusive Düsseldorf Conceptual photographer features a series of pictures of a woman putting on her makeup. A peer of Gerhard Richter, Joseph Beuys and Bernd and Hilla Becher, Feldman helped pave the way for artists like Richard Prince, Sherrie Levine and Christopher Williams.

Hans-Peter Feldmann: Birgit

Published on the occasion of the artistis recent one-person exhibition at New Yorkis Marian Goodman Gallery, this up-to-the-minute volume presents new, large-scale works by Gerhard Richter, most of which have never before been published. Four 2005 drawings are reproduced at 1:1 scale, along with more than 30 color reproductions of recent abstract paintings, a few double-page bleeds of patterned abstraction, one landscape and several studio views. Includes a substantial essay and an interview by the scholar Benjamin Buchloh, as well as a closing essay by Dieter Schwarz.

Gerhard Richter: Paintings 2003-2005

Carolee’s is the second issue of The Magazine of the Artist’s Institute, the publication which takes each season of the Artist’s Institute as a point of departure for new criticism, journalism, fiction, interviews and artist projects, developed around the work of a single artist. Dedicated to Carolee Schneemann (born 1939), this issue features a previously unpublished archive of images from Schneemann’s studio that documents half a century of morphological connections between her work and other visual material, including art, advertising and popular culture. Published following the Artist’s Institute’s season of exhibitions and programming examining Schneemann’s expanded conception of the body as material, Carolee’s includes a new long-form profile of Schneemann by writer Maggie Nelson that considers the artist’s relationship to the history of her reception and Schneemann’s significant influence on subsequent generations of feminists.

Carolee’s Issue 02: Devoted to Carolee Schneemann

Whenever Gerhard Richter goes to Sils, a small town in the Swiss Alps, he makes photographs, some of which he overpaints and adds to his Atlas. Others he treats as autonomous works, as in those presented in this intimate artist's book. In the overpainted photographs, the levels of reality evident in photography are combined with those that exist in painting. However, the paired concepts prove redundant of both the realism in photographic representation and the abstraction in nonfigurative painting. The photographs reveal a parallel between both forms of painterly practice, evidence of the simultaneous existence of contradictory bodies of work in Richter's oeuvre.

Gerhard Richter: Sils

OBRIST, Hans-Ulrich

RICHTER, Gerhard

Bloch, Peter AndrE

Adelita Husni Bey: Who Cares?

Politics & Social Sciences

Social Sciences

If painting was for Matisse the expression of a "state of condensed sensations," his engravings consisted of "Traits Essentiels" or "essential lines:" they were recordings of a single sensation, and rarely passed through any series of stages or reworkings. In fact, engraving was a refuge. Marguerite Duthuit-Matisse, co-author of a catalogue raisonné of her father's prints, describes the graphic work he often executed at the end of a painting session as an "agreeable conclusion." After several experiments with drypoint, Matisse turned toward woodcut in 1906 (and gave it up almost immediately), then worked simultaneously in monotype and etching, where he achieved an astonishing tension between surface and line. Later, he turned to linocut and to sugarlift aquatint. It is on these projects that the selection in Traits Essentiels focuses: Lithography, which Matisse practiced from 1906 to 1952, and with which he was less experimental, is excluded. Text in French only.

Henri Matisse: Traits Essentiels: Monotypes 1906-1952

Cherix, Christophe

Julliard, Mayte

British sculptor Anish Kapoor reveals another facet of his diverse abilities with this beautiful accordion-fold artist’s book reproducing ten previously unpublished gouache paintings. Murkily sensual and full of swelling, luminous contrast between dark and light areas, these mostly abstract paintings were executed on the double pages of an accordion notebook in January 2011. Occupying a palette of blacks and grays, with occasional intrusions from glowing oranges and purples at the page’s edge, these works evoke the interplay of recess and protrusion that so famously characterizes Kapoor’s sculpture. As daily acts of meditation, they can be said to have as their primary subject the artist’s subconscious: “what I’m trying to do is paint the interior, my interior,” he says. This volume is perhaps the most exquisite manifestation of Kapoor’s intent to date.

Anish Kapoor: Sketchbook

Bernadac, Marie-Laure

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Books by Walther König, Köln