Preface by Karola Grässlin.

Essays
The Great Persuader by Astrid Wege; How Far We’ve Come From The River, a conversation between Bennett Simpson and Stephen Prina.

Describing Conceptual artist and musician Stephen Prina’s work in 2004, the Harvard Gazette wrote, “Prina’s artwork is full of unsuspected surprises, secret compartments that pop open to release compressed bundles of meaning or coiling strands of narrative.” His work at the 2008 Whitney Biennial, for example, was conceived as “a traveling spectacle — a mini-Broadway-musical-on-the-road or circus,” according to the artist. This concise retrospective volume presents work from 1979 to 2008, as well as installation views of Prina’s recent one-person exhibition at the Staatliche Kunsthalle Baden-Baden in Germany.

Since the 1960s, Los Angeles has been a hub for groundbreaking art. This slim volume features work by Bas Jan Ader, Michael Asher, John Baldessari, Chris Burden, Douglas Huebler, Larry Johnson, Mike Kelley, William Leavitt, Paul McCarthy, Bruce Nauman, Maria Nordman, Raymond Pettibon, Stephen Prina, Allen Ruppersberg, Ed Ruscha and Christopher Williams.

This latest reference work on Kippenberger catalogues all of the multiples produced between 1982 and 1997, documented by title, year, format, motive, edition, signature, and production. Here you will find many hard-to-describe works, including Mirror Babies, ELITE ‘88, Upside Down And Turning Me, Disco Bombs, and Kippen Seltzer.

“How can one make a work on canvas today without, in some way, addressing the mobility that now characterizes our most familiar sources of representational surfaces – the television or computer screen with their profusion of data, succeeding, interrupting and, through the hyperlink, opening gaps within one another? Thomas Eggerer’s anti-gravitational paintings address these conditions in a variety of ways, all of which cause a vertiginous loss of grounding.” David Joselit

German artist Thomas Eggerer (*1963) is based in Los Angeles since 1999. A former member of the collaborative Group Material in New York, he initiated conceptual projects in collaboration with Jochen Klein, focusing on identity and gender issues in public space. In his current paintings and drawings, Eggerer continues this discourse with other means. His enigmatic depictions of groups and collectives attempt less to portray the singularity of the individual than to explore the mechanisms of exclusion and inclusion, conformity and hierarchy, as well as the potential of individual or collective utopia.