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Butzer, André

Demester, Jérémy: Fire Walk With Me

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Förg, Günther

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Galerie Max Hetzler: 1994–2003

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Hains, Raymond: Venice

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

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Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

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Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Mahn, Inge


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Neto, Ernesto: From Sebastian to Olivia

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Prince, Richard: Super Group

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Riley, Bridget: Paintings and Related Works 1983–2010

Smith, Josh: Abstraction

Tunga: Laminated Souls

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Warren, Rebecca

Wool, Christopher (2017)

Wool, Christopher: Road

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Collector's Editions

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Josh Smith: Abstraction
With an introduction by Josh Smith and an interview with the artist by Sophie Aschauer

Two soft-cover volumes and a text booklet in slipcase
27.5 x 34 cm
128, 120 and 32 pages
142 color illustrations
48.00 Euro

Vol. 1: Abstract Paintings  
Vol. 2: Palette Paintings
Text book


The American artist, Josh Smith, who was born in 1976, focuses on themes authenticity and authorship. His paintings, collages, artist books and installations encircle the central myths of modern painting, and connect subjectivities to the exterior world. Josh Smith first became known for his “Name Paintings”, in which his everyman name functions as a pictorial motif for variations – of the painting and signature in one. His publication Abstraction presents the artist’s “Abstract Paintings” next to his “Palette Paintings,” as previously in the eponymous exhibition at Luhring Augustine in New York. Two concepts, two themes, two books: on the one hand, archetypes of abstract-expressionist paintings with airy compositions in lively colours; on the other, canvases onto which Smith squeezes out his paintbrush, with the straightforward aesthetic of simple forms. Both books show how serious reflection can emerge from an aggressive-ironic approach. And how abstract art can emerge out of the ideal, without the need for pathos, artistic genius or over-appreciation of the individual painting. The additional text booklet contains an interview with Sophie Aschauer that broaches these questions, alongside installation views and the “Announcement Paintings” made for Abstraction.