Takao Hiwasaki is credited with reviving the wood engraving technique in Japan, where it was introduced by Britain in the Meiji period as a means of quickly reproducing works before falling out of favour with the arrival of photomechanical methods. He taught himself the medium in the 1960s after reading Onchi Koshiro’s book on Japanese printmaking, Nihon no gendai hanga, as a fine art technique rather than for reproduction, applying his Modernist, sometimes Surrealist styles to his compositions. This inspired the formation of the group Nomi no Kai (The Chisels) by admirers and followers of the technique, which helped launch Japan’s wood engraving renaissance in the 1970s.

*Please note this publication is secondhand and has some traces of previous ownership.

Consisting of eight drawings by Marc Nagtzaam: As Far as I’m Concerned, 13 JAN.1973 / JULY 4, 1973, Ins and Outs, Not One, Not Two but Three, The Sound of Something Happening, Pantone, Polaroid & To the White Sea and Beyond. Edition of 400.

Most of the encounters that unfold in Martha Rosler’s works originate in seemingly ordinary everyday situations: scenes of domestic life or everyday activities such as shopping, watching the news, reading the newspaper, or traveling. The photographic series featured in this book – works from the eighties to the present – are also devoted to these themes. They are studies of the highways and byways of daily life, views of roads, subway tunnels, airports, shopping districts, parking lots, and the like. These photographic documents of Rosler’s also offer critical insights into day-to-day movements within rigidly structured relationships of power.

Ian Wilson has been exploring the aesthetic potential of spoken language since the late 1960s. His ongoing body of work—beginning with “oral communication” and eventually including his signature Discussions—began in 1968 with the spoken word “time”.

Over the course of the 1970s, his discussions took on a more formal character, and his interests shifted towards ‘The Known and Unknown’, based on Plato’s ‘The Parmenides’. In contrast to a ‘performance’, during a discussion the audience can actively take part in realising the concept of ‘oral communication’. Wilson does not want the discussion to be recorded either on film or audio. Wilson summarises the core of these discussions in a book series entitled ‘section’.

Invitation produced on the occasion of Janet Burchill & Jennifer McCamley’s exhibition NEON at the Art Gallery of New South Wales, Sydney, 26 June – 14 August, 2005.

Martin Beck is an artist whose exhibitions and projects engage questions of historicity and authorship and they draw from the fields of architecture, design, and popular culture. A ‘leitmotif’ in Beck’s practice is the notion of display: his works often engage histories of exhibiting and communication formats and, on a material level, negotiate display’s function as a condition of image-making.

His main bodies of works from the 2000s investigated how the modern conception of display developed in the mid-20th century. For his solo exhibition an Exhibit viewed played populated at Grazer Kunstverein, Beck presented works that emerged out of his research on Richard Hamilton’s 1957 an Exhibit in which colored acrylic panels, suspended from the gallery ceiling, created an environment that turned the gallery space itself into an artwork