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Artwork by Jorge Pardo, Vanessa Beecroft, Ellsworth Kelly.

Parkett's explorations of important international contemporary artists by acclaimed writers and critics continues in Volume 77, which features Trisha Donnelly, Carsten Höller and Rudolf Stingel. Donnelly's videos, sound pieces, photographs and pencil drawings all possess a cunning Jasper Johnsian precision, blending whimsy, restraint and a certain preternatural gamesmanship, while her "live" interventions, rarely witnessed by others in real life, have a way of spreading into culture like folklore. Carsten Höller was a scientist prior to becoming an artist, and his work reflects the duality of both fields. His optical devices, flying machines, flashing lights and happiness pills all possess the jury-rigged inventiveness of laboratory experiments: "body invaders that latch onto the user's senses," as one Parkett author puts it. Rudolf Stingel, speaking of his recent photo-realistic self-portraits--somber, tonal ruminations in oil--claims that "the only activity is self-doubt." Writing on Stingel's past serial "silver" canvases, Francesco Bonami compares their cool blankness to "cottage paintings" in their "ambush of aura over the artificiality of the picturesque." Writers in this issue include Bonami, Bruce Hainley, Jörg Heiser, Caoimhín Mac Giolla Léith, Chantal Mouffe, Cay Sophie Rabinowitz, Christian Rattemeyer, Beatrix Ruf, Ali Subotnick and Tirdad Zolghadr.

Nonfiction: art / art history journal

“The work of Mario Merz leaves the impression of a compulsive urge toward transcendence. On the one hand, he is himself a kind of Second Coming, considerably less glorious than was anticipated, bringing confirmation of another postponement in the offing, a third and fourth and fifth Coming. On the other hand, he is the last futurist left standing in the wake of a future that has exhausted itself in an orgy of big bangs." --Jeanne Silverthorne

This excellent condition copy of the reknowned art journal from 1987 features a showcase of the work of Andy Warhol. The copy is pristine with a mint binding, no bent pages exactly as printed some 25 years ago

A rare, behind-the-scenes look at one of the art world's most respected magazines, Parkett: 20 Years of Artists' Collaborations portrays and explores the 20 years of Parkett since 1984. Focused particularly on the making of the journals' signature artists' collaborations and editions, this book features unpublished artist interviews, statements and other background information. Included as well are artists' documents on the making of Parkett editions with some 30 full-page color drawings and comments by artists Doug Aitken, Laurie Anderson, Louise Bourgeois, Maurizio Cattelan, Gilbert & George, Roni Horn, Cindy Sherman, Gerhard Richter, Jeff Wall and others. Parkett co-founders Bice Curiger, Jacqueline Burckhardt and Dieter von Graffenried provide insightful interviews which are interspersed with pictures, historical material and reproductions of Parkett covers. Approximately 30 artists, curators and authors give statements, and 12 color double pages feature Parkett editions in private collections, a special large size fold-out poster, and a group picture of all editions. Also included is an index of the past 20 years that includes all 200 artists, 150 editions, 700 authors, 60 Parkett inserts and 15 spines.

Nonfiction: art / art history journal

Presenting unique and in-depth collaborations and editions with leading international artists, Parkett #57 features the work of Doug Aitken, Nan Goldin, and Thomas Hirschhorn, three artists who conceive of private and personal landscapes and challenge our notions of the real and the imaginary. Contributing writers include Francesco Bonami, Christina van Assche, and James Roberts on Aitken; Arthur Danto, Deborah Eisenberg, Dana Friis-Hansen, Elisabeth Lebovici, and Lisa Liebmann on Goldin; and Robert Fleck, Alison Gingeras, Markus Steinweg, and Philippe Vergne on Hirschhorn. In addition, this issue contains essays on Donald Baechler, Louise Lawler, and John Miller. Parkett #58, featuring collaboration artists Sylvie Fleury, Jason Rhoades, and James Rosenquist, will be published in early Summer 2000.

Nonfiction: academic journal on Art History

Artwork by Karen Kilimnik, Ugo Rondinone, Malcolm Morley.

Parkett 89 presents features on Los Angeles bricoleur Mark Bradford, hugely acclaimed in recent years for his densely layered torn billboard paintings that record the constant erosion of the urban landscapes from which they are drawn, while also letting Bradford's personal history seep through the excavated surfaces; Oscar Tuazon, an American artist now living in Paris, who improvises structures in pre-existing buildings and in nature, using a combination of pre-fabricated and organic materials, from enormous concrete blocks, steel slabs and cardboard to tree trunks and gallery walls; New York-based painter Charline von Heyl, whose brightly colored, heavily gestural work juggles figuration and abstraction; and Seoul-born, Berlin-based Haegue Yang, who assembles her installations from everyday household devices that relay eerie psychological narratives (sometimes based on various historical figures), and whose recent installation at the New Museum in New York, using her signature venetian blinds, won her much critical attention. Also featured is a conversation with K8 Hardy; and writing for the issue are Kabir Carter, Huey Copeland, Christopher Bedford, Alan Licht, Jessica Morgan and Eileen Myles.

Parkett's explorations of important international contemporary artists by acclaimed writers and critics continues in Volume 77, which features Trisha Donnelly, Carsten Höller and Rudolf Stingel. Donnelly's videos, sound pieces, photographs and pencil drawings all possess a cunning Jasper Johnsian precision, blending whimsy, restraint and a certain preternatural gamesmanship, while her "live" interventions, rarely witnessed by others in real life, have a way of spreading into culture like folklore. Carsten Höller was a scientist prior to becoming an artist, and his work reflects the duality of both fields. His optical devices, flying machines, flashing lights and happiness pills all possess the jury-rigged inventiveness of laboratory experiments: "body invaders that latch onto the user's senses," as one Parkett author puts it. Rudolf Stingel, speaking of his recent photo-realistic self-portraits--somber, tonal ruminations in oil--claims that "the only activity is self-doubt." Writing on Stingel's past serial "silver" canvases, Francesco Bonami compares their cool blankness to "cottage paintings" in their "ambush of aura over the artificiality of the picturesque." Writers in this issue include Bonami, Bruce Hainley, Jörg Heiser, Caoimhín Mac Giolla Léith, Chantal Mouffe, Cay Sophie Rabinowitz, Christian Rattemeyer, Beatrix Ruf, Ali Subotnick and Tirdad Zolghadr.

Presenting unique and in-depth collaborations and editions with leading contemporary artists, Parkett No. 65 will be published at the end of September 2002, featuring collaborations by three of today's most exciting mid-career painters: John Currin (USA), Laura Owens (USA) and Michael Raedecker (The Netherlands).

Founded in 1984, Parkett has long been an important source of literature on international contemporary art. Each biannual issue is a collaboration with four artists, in which their work is explored in richly illustrated essays by leading writers and critics. Recent artists featured in Parkett include: Marc Camille Chaimowicz, Pamela Rosenkranz, John Waters and Xu Zhen (96), Jeremy Deller, Wael Shawky, Dayanita Singh and Rosemarie Trockel (95); Tauba Auerbach, Urs Fischer, Cyprien Gaillard, Ragnar Kjartansson and Shirana Shahbazi (94). Additional texts have focused on the challenges of exhibiting performance art (95) and the effects of new technologies and social media on the live arts (94).

Artwork by Roni Horn, Mariko Mori. Photographs by Beat Streuli.

Parkett 88 contains special features on four contemporary artists: painter, designer and performance artist Kerstin Brätsch (born 1976), with essays by Massimiliano Gioni, Fionn Meade and Beatrix Ruf; artist and film-maker Paul Chan (born 1973), with essays by Carrie Lambert Beatty, Alan Gilbert and Boris Groys; the pioneer of appropriationism Elaine Sturtevant (born 1930), with essays by Roger Cook, Paul McCarthy and Stéphanie Moisdon; and the photographer and sculptor Andro Wekua (born 1977), with essays by Daniel Baumann, Douglas Fogle and Claire Gilman. Also in the issue are an essay by Juri Steiner and conversations between art historians Herbert Lachmeyer and Jacqueline Burckhardt, and poet Marcella Durand and painter Suzan Frecon.

In this issue of Parkett, Richard Flood writes, "Christopher Wool hasn't left much of the American angst and anger out of his art. The terse staccato of his language--rushing between noir wise guys, Burma Shave teasers, Punk rants, Lenny Bruce riffs and Zen smack downs--is a mad imploded sampler of rage, denial and brutal pragmatism." Scott Rothkopf takes on Wade Guyton's latest inkjet paintings in bull's-eye prose. And writing on Robert Frank, Eileen Myles claims: "Pull My Daisy refers to a g-string being dropped away, but the emotional underpinnings of this film make it more like a red flag being waved at a bull." Also, Paul Chan on Paul Sharits, Max Wechsler on Félix Vallotton, Thomas Eaton on Kenneth Anger, Burkhard Meltzer on Susan Philipsz and Victor Tupitsyn. Insert by Kerstin Brätsch, spine by Paulina Olowska.

Parkett continues its 25th anniversary with a text by Marina Warner on the Trans-Atlantic cable; a persuasive argument by Richard Phillips for the faux-naïf painter Adolf Dietrich (1877-1957); and Philip Kaiser's examination of the Met's recent Pictures Generation show. London-based Cerith Wyn Evans is perhaps best known for his hypnotic neon signs; as Michael Archer notes, Walter Benjamin saw content not just in the sign but in its reflection. Both Pablo Lafuente and Jan Verwoert name London's magnetic fields of the 1970s as a major influence. Katharina Fritsch is best known for her monochromatic figures cast in plaster. Jessica Morgan sees these immaculately articulated forms as "amplifications," while Jean-Pierre Criqui responds to just the opposite: their ghostliness. Annette Kelm's photographs possess a frightening sense of obsolescence; according to Beatrix Ruf, their baffling stories begin with a detail that seems to have lost its potency. Kelley Walker's work embraces contradiction and contrast, as Johanna Burton witnessed upon viewing the eclectic collection of artifacts and memorabilia in his studio. Antek Walczak evaluates Walker's appropriation of the recycling logo, and Glenn Ligon addresses the anxiety behind his African-American imagery. Allen Ruppersberg supplies an insert for the issue.

For over two decades Parkett has presented unparalleled collaborations with key international contemporary artists, and paired their work with discussions by esteemed writers and critics. Issue No. 75 spotlights Kai Althoff, Glenn Brown, and Dana Schutz. Althoff's portfolio includes both erotically charged paintings of men in uniform and innocent "coming-of-age" colored pencil illustrations, sensuous work--at once homoerotic, punk, and devotional--that radiates a somber luminosity. Then there are his awkward, life-size installations, which appear to be made by some sort of drunken puppeteer. The "master" Glenn Brown employs a sorcerer's bag of techniques to produce retro-Rococo paintings and sculptures, maximally intricate, hyper-composed, and rendered with the intense detail of a tripped-out sci-fi animator. His fully-realized, uninhabitable dreamscapes reflect on the bizarre world in which we all live. Dana Schutz's painterly virtuosity and devotion to the medium also look back in time, but her brilliant, confessional exposition is very much of the now. Be the subject a dissected corpse, a dazed hippie chick, or her own boyfriend on the beach, Schutz's painted world, her "monster mash," is decadently radiant and ecstatic, and also frighteningly ghoulish. Text contributors include Jordan Kantor, Viet Loers, Oliver Koerner von Gustorf, Jennifer Higgie, Trevor Smith, Jàrg Heiser, Michael Lobel, Daniel Baumann, Rachel Kent, Duncan Fallowell, Angelika Affentranger-Kichrath, Gian Maraniello and Rudolf Schmitz. Plus a photographic insert by Balthasar Burkhard, and spine by Carsten Nicolai.

Parkett 76 features three rising stars of the international art scene: Julie Mehretu, Yang Fudong and Lucy McKenzie. As her marks and gestures are flung into motion upon the canvas, Julie Mehretu paints a picture of an infrastructure gone awry. Their layered, calligraphic density suggests Leonardo da Vinci's ecstatically charged tidal drawings. In the frozen situations encountered in Yang Fudong's images, the viewer must always ask, "Will the protagonist survive?" Fudong's narratives read like brief, melancholic confessions, an "abstract cinema" that, in his own words, functions as "a non-describable collision in one's heart." Over the last decade, Lucy McKenzie has been umbilically attached to Glasgow's underground, guided by her elegant draftsmanship and continuously undermining her own adopted visual rhetoric--which includes facades from Tintin, Socialist mural projects and Mackintoshian Modernism. Texts by Heidi Zuckerman Jacobson, Chris Abani, Madeleine Schuppli, Marcella Beccaria, Yuko Hasegawa, Zhang Wei, Neil Mulholland, Bennett Simpson, Isabelle Graw, Trevor Smith, Philipp Kaiser, Johanna Burton, Vincent Precoil, Hans Rudolf Reust, Matthias Haldemann and Bill Arning.