Yuval Etgar Libri

Often considered as unique artworks, Man Ray's original sculptures possibly never existed.They are often only known through the artist's accounts in writing, conversations, or conspicuously dated photographs.In place of these absent signifiers, however, Man Ray created alternative variations on multiples occasions throughout his career, under morphed titles, materials, and in various quantities.These he called 'replicas', 'editions', or 'new originals', depending on their appearance and production method.This book explores how originality was manifested in Man Ray's process of artistic reproduction and multiplication.Featuring essays from Peter Fischli, David Campany, Alyce Mahon, Jennifer Mund and Margrethe Troensegaard.Published alongside an exhibition of the same name at Luxembourg + co, New York, 6 September - 2 December 2023.

John Stezaker is one of the most distinguished voices in the history of image-based collage. Since the 1970s Stezaker?s work has occupied a unique position in the face of radical changes in the economy of popular visual culture and its implications on the value of ?found? imagery in art. Faced with the post-conceptual crisis of the mid-1970s, Stezaker came to reject the prevailing tendency among his British contemporaries towards agitprop photomontage, promoted in the name of punk, anarchism and second-wave feminism. He also positioned himself at a distance from the North American Pictures Generation artists with whom he had a meaningful exchange during this period, and in whose narrative he remains something of a missing link to this day. Stezaker was gradually to become consumed by a different enquiry altogether ? one that was, and remains, invested in the possibility of reviving the mechanically reproduced image and exploring its potentials as an outmoded visual currency that is shifting out of circulation in favour of new technologies and alternative modes of image distribution.00Exhibition: Luxembourg + Co., London, UK (01.10 - 05.12.2020).

A groundbreaking approach to the study of Cézanne’s works on paper This book brings to light new research into the work of Paul Cézanne (1839–1906), based on close examination of the DNA makeup that constitutes the papers he used for his watercolors and drawings. The book features in-depth analyses of the works in the show by Fabienne Ruppen, as well as extensive commentary on Cézanne scholarship by Walter Feilchenfeldt, co-author of the artist’s new catalogue raisonné.At the heart of the book are two watercolors that Cézanne produced from a large sheet of paper, which he divided in two sections for the purpose of capturing different landscapes, La Montagne Sainte-Victoire , from 1885–87, and a Paysage Provençal . Reunited for the first time, these two parts of the same sheet exemplify Ruppen’s research methods and the way these enable us to reconsider the dating of Cézanne’s work based on forensic evidence.