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Die Kunst in Academia
‘Die Kunst in Academia’, tour T-shirt.
Page 2502 – a-n The Artists Information Company
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Sweden album cover
Grennan and Sperandio, ‘Sweden album cover’.
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Gala reception for CAA conference attendees at the Whitney Museum of American Art
‘Gala reception for CAA conference attendees at the Whitney Museum of American Art’.
Photo: Diane Jarvi.
Photo: Diane Jarvi.
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One of the over 100 art materials suppliers, publishers and other exhibitors at the 2003 Book and Trade Fair.
‘One of the over 100 art materials suppliers, publishers and other exhibitors at the 2003 Book and Trade Fair.’.
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Funkadelic
Jim Lambie, ‘Funkadelic’, 2001.
Courtesy: The Modern Institute/Jim Lambie.
Courtesy: The Modern Institute/Jim Lambie.
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Between
Paul Seawright, ‘Between’, Duratran and lightbox, 122x152cm, 2003.
Courtesy: Kerlin Gallery.
Courtesy: Kerlin Gallery.
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work in progress
Simon Pope, ‘work in progress’, photograph, 2003.
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The Corrections
Halt & Boring, ‘The Corrections’, 2001.
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Ohne Harmony (Without Harmony)
Siggi Hofer, ‘Ohne Harmony (Without Harmony)’, installation view, Kuntstbuero, Vienna, 2002.
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Hungarian feast with B+B at Home at the Austrian Cultural Forum
Eszter Agnes Szabó, Monica Balint, ‘Hungarian feast with B+B at Home at the Austrian Cultural Forum’, Sunday 23 March 2003.
Photo: Anthony Auerbach.
Photo: Anthony Auerbach.
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Untitled (Modernize…)
Johanna Kandl, ‘Untitled (Modernize...)’, 2002.
Courtesy: Galerie Christine KÖnig, Vienna.
Courtesy: Galerie Christine KÖnig, Vienna.
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The Art of Tickling Trout and Other Sensual Pleasures
Charlie Murphy, ‘The Art of Tickling Trout and Other Sensual Pleasures’, DVD, installation, 2003.
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Elevation
Tony Sinden, ‘Elevation’, 2002.
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The Art of Tickling Trout and Other Sensual Pleasures
Charlie Murphy, ‘The Art of Tickling Trout and Other Sensual Pleasures’, DVD, installation, 2003.
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Sleepwalking
Emilia Telese, ‘Sleepwalking’, photo diary, 2003.
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Behold Vertical Devices
Tony Sinden, ‘Behold Vertical Devices’, 1974 (reconstruction 2002).
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Things get quieter and colder as habits form
Chad McCail, ‘Things get quieter and colder as habits form’, digital print on Fuji archival paper, 48.5x48.5cm, 2003.
Courtesy: Laurent Delaye Gallery, London.
Courtesy: Laurent Delaye Gallery, London.
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Money is destroyed
Chad McCail, ‘Money is destroyed’, gouache on paper, 77.5x155cm, 1999.
Courtesy: Laurent Delaye Gallery, London.
Courtesy: Laurent Delaye Gallery, London.
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The source of life to come
Chad McCail, ‘The source of life to come’, digital print on Fuji Archival Paper, 48.5x48.5cm, 2003.
Courtesy: Laurent Delaye Gallery, London.
Courtesy: Laurent Delaye Gallery, London.
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Land is Shared
Chad McCail, ‘Land is Shared’, gouache on paper, 77.5cm x 155cm, 1999.
Courtesy: Laurent Delaye Gallery, London.
Courtesy: Laurent Delaye Gallery, London.
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161
Will Self.
datail of the first draft of a 12,000 word short story. From 'Further up in the Air', archive
datail of the first draft of a 12,000 word short story. From 'Further up in the Air', archive
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If walls could talk… (detail)
Catherine Bertola, ‘If walls could talk... (detail)’, 2002.
From 'Further up in the air', archive
From 'Further up in the air', archive
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Untitled
Stefan Gec, ‘Untitled’, 2002.
work in progress. From 'Further up in the Air', archive
work in progress. From 'Further up in the Air', archive
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Park Life, Park fiction rave around the park fiction container
‘Park Life, Park fiction rave around the park fiction container’, 1998.
Photo: Hinrich Schultze.
Photo: Hinrich Schultze.
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Park Life
‘Park Life’.
Photo: Christoph Schaefer.
Poland. Subversively embedded in the brickwork is the identity of the immigrant Polish workers who built this smart shopping mall in the eighties
Photo: Christoph Schaefer.
Poland. Subversively embedded in the brickwork is the identity of the immigrant Polish workers who built this smart shopping mall in the eighties