Two volume exhibition catalogue published in conjunction with the second Berlin Biennial held at the KW Institute for Contemporary Art, the Postfuhramt, the S-Bahn arches in the Jannowitzbrücke and the Allianz-Treptowers, April 20 - June 20, 2001. ... [details]
Exhibition catalogue published in conjunction with the inaugural iteration of the quinquennial exhibition "Greater New York" held February 27 - May 14, 2000. The exhibition marked the first curatorial collaboration between PS. ... [details]
Exhibition catalogue published in conjunction with show held February 18 - March 26, 2005. Text by Marc Glimcher. Artists include: Josef Albers, Ad Reinhardt, Alfred Jensen, Jasper Johns, Marcel Broodthaers, Andy Warhol, Ed Ruscha, Piero Manzoni, Frank Stella, Carl Andre, Tony Smith, Donald Judd, Dan Flavin, Sol LeWitt, Mel Bochner, Hanne Darboven, On Kawara, Bernd & Hilla Becher, Chuck Close, Richard Serra, Robert Mangold, Jo Baer, Joan Jonas, John Baldessari, Bruce Nauman, Mario Merz, Charles Ray, Jeff Koons, Jenny Holzer, Sherrie Levine, Felix Gonzalez-Torres, Peter Halley, Damien Hirst, Tom Friedman, Andrea Zittel, Keith Tyson, Vik Muniz, Gary Hill, Michael Rovner, James Siena, Tara Donovan, Corban Walker, Julie Mehretu, Jonathan Monk, Paul Pfeiffer, and RSG. ... [details]
Volume 71 of Parkett highlights the practices of Swiss video artist and photographer Olaf Breuning, American Painter Richard Phillips and British artist Keith Tyson. Texts on Breuning by Marc-Olivier Wahler, Carissa Rodriguez and Gianni Jetzer; Phillips by Jutta Koether, Christian Rattemeyer and an interview with the artist by Diedrich Diederichson; Tyson by Michael Archer, Hans Rudolf Reust and an interview with the artist by Ethan Wagner. ... [details]
Exhibition catalogue published on conjunction with show held September 5 - October 4, 2008. Essay by Mark Glimcher. Includes exhibition checklist. [details]
"How can an art exhibition function as a stand-in for the artists and their studios? How can a gallery project provide greater insight into an artist's practice, the way the formality of a slide lecture or the intimacy of a studio visit can? How can the back-story of the work on display be understood, without being solely reliant on a curatorial statement, catalogue essay or press release? This exhibition allows art to be understood as an ongoing and slippery practice, and less the finite, linear and object-oriented one assumed by the standard exhibition format. ... [details]