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ARTISTS & EDITIONS

Tauba AuerbachElisheva Biernoff

Luke ButlerClaude Closky

Dina DanishSam Durant

Liam EverettColter Jacobsen

Ben KinmontRuth Laskey

Adam McEwenDave Muller

Bruce NaumanFranz Erhard Walther

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Artists & Editions was modeled after the 1970 Multiples Inc. publication Artists & Photographs. Though Artists & Editions was not conceived of as part of a traditional exhibition (as the Multiples Inc. compilation was) it can be privately enjoyed as an exhibition in a box. Artists & Editions is additionally intended to relate to a short history of conceptual boxed editions, including Duchamp’s Boîte en Valise (1935–66), Artists & Photographs (1970), and a Bay Area multiple called the Kiki Box (1994). Like my favorite boxed sets, this RITE Edition is portable, diverse in scope, and hands-on. While I imagine the owner taking the edition off a shelf and thoughtfully examining it, I also hope that Artists & Editions will be shown in a gallery space at some point. A public exhibition would celebrate the diversity of the box’s contents and allow for further visual and conceptual connections. Most importantly, I want to honor Steven Leiber with this exceptional publication. It is a tribute to Steven that many so generously contributed to this project. I want to thank the fourteen artists who f illed the box with an extraordinary collection of works and who have extended the conversation about what an edition can be. In addition to the artists many other people have been generous with their time and resources, their names are listed in the acknowledgments, but I also wish to thank them here. Finally, I want to emphatically thank Leigh Markopoulos and Elisheva Biernoff for their help and support with this project. It was a great pleasure to work with them.

Robin WrightSan Francisco, January 19, 2013

Steven Leiber talking to a group of students. Photo: Sébastien Pluot, 2010.

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Leigh Markopoulos

A collector and dealer of art and books, Steven Leiber frequently made use of artistic or curatorial antecedents from his holdings as models for the f ifty-three sales catalogues he published between 1991 and 2001. Witty and erudite, they are creative works in their own right, as well as documents of his role in def ining contemporary art historical genres through the development of their markets. In producing the catalogues, his aim was to make formally evocative multiples rather than accurate replicas, and they vary greatly in their respective degrees of emulation, as the contents of each proposed offering informed and shaped its ultimate manifestation. Thus, a 1996 catalogue of artist books from the collection of Swedish artist Leif Eriksson (a.k.a. SAAB) was conceived of in the style of a Christian Boltanski book inventory, the triple entendre being particularly resonant: an artist’s book of an artist’s collection of artists’ books [f ig.1].1 The catalogues function as homages of one sort or another as well as evince Steven’s comprehensive knowledge and understanding of the artists and exhibitions that he valued.

Devised in Steven Leiber’s memory, this edition takes as its inspiration the, in his words, “curious classic boxed edition,” Artists & Photographs, which was published by Multiples Inc., NY in 1970.2 “Curious” because of the lack of information available regarding its conception as a supplement and catalogue to an exhibition of the same name; because of the combination of artists books and multiples it contains; the fact that apparently only around half of the edition of 1,200 was ever completed and circulated; and that more often than not, it is found to be lacking the advertised contributions by Tom Gormley and Robert Rauschenberg. The exhibition Artist & Photographs addressed not photographers, but artists who were at the time using photography in some form to engage with ideas of documentation or reproduction. 3 Featured were nineteen of the leading Conceptual, Pop, Minimal and Nouveau Realist practitioners of the day, from Mel Bochner to Richard Long and Andy Warhol. The accompanying edition presented additional materials by these artists in a square cardboard box designed by Dan Graham and measuring 13.25 x 13.25 x 4 inches [f ig.2]. It comprised six artists’ publications, four multiples, eight artists’ books, one poster, and an exhibition brochure with a text by the British art critic and curator Lawrence Alloway.

The choice of this antecedent is to be understood as a tribute to Steven’s predilection for referencing and his particular love of the Artists & Photographs edition, as a faint echo of his original career as a photography dealer, and not least, as a reminder of his joint publishing endeavors with Robin Wright under the RITE Editions moniker. Despite more or less faithfully mimicking the external dimensions of its precursor, this edition is not however to be understood as a restaging of Artists & Photographs. It presents fourteen artists, contains no photographic works, is not intended for wide distribution (being

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to show these visitors based upon his understanding of their areas of interest or research. On other occasions, he would question a visitor rigorously, allowing the interrogation to forge a path through the collection, a “shuffle” approach that also enabled him to f ind new connections and resonances.

Despite being independently conceived and realized, the resulting fourteen contributions are jointly, albeit in differing ways, characterized by this process of activation. And yet certain distinguishing characteristics of the basement are not overlooked. Its garage-door entry, for example, is commemorated by Elisheva Biernoff in her design for the edition’s box. Its activity as the functioning office of a rather specialized business is more obliquely referred to by her reproductions of the wryly-humorous ephemera that enlivened the restroom. Tauba Auerbach and Colter Jacobsen return to the research that initially brought them to 37 Toledo Way and to the specific aspects of the archive that most resonate with their practice. The manila folders that Steven used to organize his reference materials for every artist whose work he encountered and the densely stacked shelves of books are evoked in their respective multiples: an intricate pop-up paper sculpture (Auerbach) and a conjoined double-volume paperback (Jacobsen).

Shared by these works and others in the edition is the notion of physical engagement and of a more energetic mental exercise than contemplation alone implies. In common with Steven’s archive, the works in this edition do not fully reveal themselves at f irst glance. Biernoff’s prints are presented in a folder, which provides a key to their placement in the basement’s “reading room” while simultaneously obscuring the actual items from view. Both Auerbach’s sculpture and Jacobsen’s books are containers with deceptively innocuous exteriors. The more abstract notion of an archive as a subjective accumulation of objects that is perhaps only ever fully known by its owner is explored by Luke Butler through the lens of his personal collection. Represented in each edition by a photocopy of its inventory and a single, meticulous drawing of one of its component articles, Butler’s archive is documented but remains elusive.

an edition of thirty-f ive), and is not specifically conceived as an exhibition or catalogue. Curious to this edition is perhaps only the inclusion of Bruce Nauman as the sole representative of the original production. However, if one of the “uses of photography is to provide the coordinates of absent works of art,” as Lawrence Alloway writes in relation to Earthworks in his essay accompanying the original production, this edition could be said to “provide the coordinates” of Steven’s much missed presence.4 Applying by extension the same logic as Robert Smithson elaborates in his “Provisional Theory of Non-Sites,” this edition could be understood as a “dimensional metaphor.”5 The fourteen multiples and editions it contains document an important aspect of Steven’s interactions with the art world, diagramming a spectrum of relations and friendships with artists in whose practice he was invested. These range from younger emerging artists, many of whom he encountered through his role as an advisor on the Graduate Program in Fine Arts at California College of the Arts, San Francisco, to more established practitioners whose work he collected and sold over many years.6 Doubtless Steven would have relished the opportunity to work with all of them in a more direct capacity, on a RITE edition for example, and in some instances these conversations were, indeed, already in train.

Robin Wright invited contributors to this edition to take the landscape of Steven’s archive as their starting point [figs. 3,4,5]. Housed in an unlikely repository—the basement of 37 Toledo Way, San Francisco—his collection and reference books, as well as his inventory, exerted a magnetic pull on artists, curators, and collectors from near and far for twenty-five years. The contents of the basement grew rapidly and continuously evinced the palpable “dialectical tension between the poles of order and disorder”

that, according to Walter Benjamin, distinguishes the library of the true collector. 7 Under Steven’s guidance, the otherwise overwhelming and “somewhat impenetrable” accumulations of books, shelves, filing cabinets, boxes of more books and artists’ materials, and objects became a malleable and rich resource in service of interested visitors.8 At times, Steven would carefully pre-select materials

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Contributions by Claude Closky, Sam Durant, and Adam McEwen offer a similarly deferred—and possibly even permanently frustrated—gratification. McEwen’s poster is folded; the resultant rectangle constitutes an eighth of the complete image. It remains indecipherable until unfolded, when it reveals the legend “Sorry Ravi Shankar.” Intended as a continuation of the artist’s series of ironic slogans, the repurposed storefront signage that is usually associated with advertising temporary closure here drily announces a more permanent absence. Closky’s reworking of an earlier, drolly economical instruction work made in 1992, now translated into English, demands a f iendishly complex balancing feat or equally unlikely stroke of luck. And Durant’s laser-cut aluminum stencil frames a call to action. Liberated from a series that usually f inds its place on light-boxes, the slogan remains only partially-realized until applied to any site(s) selected by its eventual owner.

The more overt notions of labor and exchange that characterize the practices of Dina Danish, Ben Kinmont, and Dave Muller accordingly inform their multiples. Danish returns to an ongoing conversation with Steven about the appropriate medium and format for her painted Post-it notes. In this edition, she endows their larger-than-life dimensions with a correspondingly inflated status through elaborate packaging, a certif icate of authenticity, and detailed installation instructions. The promise of Muller’s participation remains unfulf illed until the coupon provided here is returned to the artist, to be redeemed for a single of some of his previously unreleased recordings. Both sets of instructions intimate a wish for a relationship beyond the f inite monetary transaction that usually constitutes a sale, also evident in Kinmont’s Catalytic Texts. First distributed on flyers in the 1990s, the texts catalyzed Kinmont’s friendship with Steven when he picked one up in the Mission district of San Francisco. To participate in their realization is to engage in social networking through photocopying and distributing the texts as widely as possible, ensuring the largest potential audience for Kinmont’s humanistic messages.

The most explicitly physical of the works, in that they refer to and implicate the human anatomy, are Bruce Nauman’s etching and Franz Erhard Walther’s folded rectangle canvas. Nauman’s clenched hands are easily classifiable motifs within his oeuvre, but here are perhaps less easily recognizable as correct (thumb wrapped over f ingers) and improper (thumb under f ingers) f ist stances for effective punching. The hesitant quality of the graphic lines belies the implied violence of the gesture, and the term “graphic” takes on a measure of irony in this context. Colorful and tactile Hand · Forearm, Walther’s “action-piece,” is only completed when utilized. Its goal is to provoke meditation through intense focus and repeated gesture. Although Walther stipulates no instructions regarding the nature of the interaction, it is clear that this work, in common with many others in the edition, requires repeated contact and concentration in order to be both realized and understood.

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Steven’s former students would agree that he himself repeatedly advocated repetition in pursuit of understanding. He also thoroughly appreciated the labor of a handmade item. While traces of the artist’s hand typify all the contributions to this edition, the impact of Steven’s teaching is additionally evident in the works by Liam Everett and Ruth Laskey. Everett revisits a particular painting that triggered a lengthy exchange with Steven, exploring its compositional permutations through the medium of an edition variée. This process allows for the artist to rework the plate before each pass through the press, thus negating the homogeneity of the edition, and by extension, of this boxed edition. Laskey returns to a sketch she made at the time of her f irst encounter with Steven as subject material for her hand-woven textile piece. Intended as an abstract form but initially rejected for too closely resembling a sinuously curved “S,” the design acquired the correct signif icance and purpose when she reworked it for this edition.

In 2008, Steven was invited to participate in Self-Storage, an exhibition organized by students of the Graduate Program in Curatorial Practice at California College of the Arts. Hosted in a small storage unit in San Francisco, the show comprised thirty Bankers boxes of archival materials submitted by an equivalent number of invited artists and archives. The boxes were displayed on a shelf, their contents accessible by appointment. For his contribution, Steven documented the sixty-one boxed editions and works that he possessed at the time; he also recorded a series of conversations with his then assistant assessing the extent and signif icance of some of his favorite items, Artists & Photographs being one. These recordings, a detailed checklist, and comprehensive photographs of the editions under discussion remain accessible online.9 In the photographs, all contents are clearly exposed—posters are unrolled or unfolded, booklets opened, objects extracted from their casings or covers and held up for inspection [fig. 6]. The recordings add all manner of details about production, art historical relevance, artists involved, and so on. They also convey Steven’s extraordinary knowledge, rigor, and precision, and not least, his inimitable charm. Finally, of course, they are telling documents about a personal relationship with art. To the extent that the contributions to this edition afford the same opportunity for an engaged and intimate relationship with art, they perpetuate his intent as a dealer and collector, as well as his memory.

NOTES

1. French artist Christian Boltanski’s practice focuses, broadly, on the reconstitution of history, collective memory, and individual lives. Through the appropriation of amateur photography and the methodology of inventory, presentation and display, Boltanski creates seemingly objective archives of the artifacts of everyday life (a family snapshot; an article of clothing). When published in book format, these inventories have a distinctive, scholarly aesthetic that conveys gravitas and credibility.2. http://www.publiccollectors.org. SteveLeiberArtistsPhotographs.htm3. The exhibition took place at a gallery called Multiples Inc., which together with the imprint was managed by Marian Goodman.4. Lawrence Alloway, “Artists and Photographs,” in Artists & Photographs (New York: Multiples, Inc., in association with Colorcraft,1970), p. 3. 5. Jack Flam, ed., Robert Smithson: The Collected Writings (Berkeley: University of California Press, 1996), p.364.6. Steven Leiber taught at California College of the Arts from 2000–11, initially as an Adjunct Professor in the Graduate Program in Fine Arts, and from 2008–11 as Senior Adjunct Professor in both the Fine Arts and Curatorial Practice programs. 7. Walter Benjamin, “Unpacking my Library: A Talk about Book Collecting,” in Illuminations (New York: Schocken Books, 1985), p.60.8. Ibid.9. http://www.publiccollectors.org/StevenLeiber1.htm

Steven Leiber holding up Robert Morris’s Continuous Project Altered Daily, 1970. Artists & Photographs, Multiples Inc., New York, NY.

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I’d like to make a paper work for the box that is based on Steven’s f iles. The form will be a manila f ile folder that opens up onto another f ile folder. It will be a pop-up of sorts, some kind of special folding pattern where two folders seem to “contain” one another, depending on how they are opened and closed, making an inf inite loop of inside-ness. My aim will be to make something special and beautiful that celebrates Steven’s attention to organizing and canonizing a part of artistic practice that is often overlooked. I visited him while I was doing research for several oddly structured books I was working on, so I feel it is f itting to apply some of what I learned during that visit to the piece I’ll make for his tribute.

Born in 1981 in San Francisco, California, Tauba Auerbach lives and works in New York. Auerbach completed her BA in Visual Art at Stanford University, Palo Alto, California, graduating in 2003. Since then she has received awards such as the San Francisco Museum of Modern Art’s SECA Art Award and has been included in numerous exhibitions. She has had solo exhibitions at Paula Cooper Gallery, New York (2012); Bergen Kunsthall, Norway (2011, and traveling); and the CCA Wattis Institute for Contemporary Arts, San Francisco (2008). Her work has also been shown in group exhibitions including Ecstatic Alphabets, Museum of Modern Art, New York (2012); The Indiscipline of Painting, Tate St. Ives, England (2011, and traveling); the Whitney Biennial, Whitney Museum of American Art, New York (2010); and Younger than Jesus, New Museum, New York (2009).

The top of the box pictures the entrance to Steven’s off ice and archives. The illustrated double doors will open out to reveal the box contents. I will also contribute a set of three silkscreen prints for the edition. They will reproduce Steven’s “curated signage” in the restroom of his 37 Toledo Way off ice, which captures his sense of humor and approach to life better than anything else I can think of.

Elisheva Biernoff was born in 1980 in Albuquerque, New Mexico and currently lives and works in San Francisco, California. Biernoff received her BA with honors from Yale University in 2002 and her MFA from California College of the Arts in 2009. After graduating, she received an Honorable Mention Fellowship at the Kala Art Institute in Berkeley, California, and in 2011 was selected for the Kala Art Institute Fellowship. She has had solo exhibitions at Eli Ridgway Gallery, San Francisco (2013); Triple Base, San Francisco (2010); and ProArts, Oakland (2010). Her work has also been included in the group exhibitions The Artists’ Postcard Show, Spike Island, Bristol (2012); Route 2: Undisclosed Destination, CCA Wattis Institute for Contemporary Arts, San Francisco (2011); and Better a Live Ass Than a Dead Lion, Eli Ridgway Gallery in San Francisco (2011).

For the edition I am making a group of thirty-five drawings of the items in my “archive” as well as a comprehensive, printed checklist, which will include a small image and a brief description of each of the objects. Once complete, the documentation will be permanently broken up. Each box will get one drawing, and one copy of the checklist that links it to the larger group. The drawings tell a highly subjective story, to which the checklist lends an objective, institutional voice. I think it should contrast with the authority of Steven and his archive in a manner that is both poignant and absurd.

Luke Butler was born in 1971 in San Francisco, where he lives and works. In 2008, Butler received his MFA from California College of the Arts in San Francisco. He has had solo exhibitions at Jessica Silverman Gallery, San Francisco (2012); Kantor Gallery, Los Angeles (2010); and 2nd Floor Projects, San Francisco (2008). His work has been included in the Orange County Biennial, Orange County Museum of Art, Newport Beach (2010); Now WHAT?, Norton Museum, West Palm Beach (2010); Lost Horizon, Exile, Berlin (2010); and Summer Reading, Invisible Exports, New York (2009).

Titled Easy-Diff icult, the edition will be a minimal paper sculpture/object. Made out of matte, coated paper folded in two, the work can be positioned on its two edges—easy—or on its centerfold—dif-ficult. The handwritten words “easy” and “diff icult” and the schemes of both positions will be printed on the card and placed so one can see them according to the card position. This piece can be installed on a shelf, a table, etc. In the edition box, it should be stored folded in two. The work will be numbered and signed. Easy-Diff icult is the continuation of an early work Facile, diff icile, très dif-f icile [Easy, diff icult, very diff icult], which was exhibited and published by the Musée d’art Moderne de la Ville de Paris in 1992, the year I believe Steven and I met for the f irst time.

Claude Closky was born in 1963 in Paris, France where he lives and works. In 2005, Closky was the recipient of the prestigious Marcel Duchamp Prize, for which he was also nominated in 2001. Closky has exhibited extensively with recent solo shows at AC Institute, New York (2012); MFC-Michèle Didier, Paris (2011); and Akbank Art Center, Istanbul (2010). Closky’s work has also been presented in numerous group exhibitions, most recently in Print/Out, MoMA, New York (2012); French Window: looking at contemporary art through the Marcel Duchamp prize, Mori Art Museum, Tokyo (2011); Les nuits électriques, Multimedia Complex of Actual Arts, Moscow (2010); and N’importe quoi, Musée d’art Contemporain (MAC), Lyon (2009).

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I will make thirty-five paintings to represent Post-its. Each Post-it will read: “Back in x minute(s),” depending on the edition (x=from 1–35). Machines make numerous identical standard sized Post-its. I want to make numerous identical standard sized Post-its. Because I am NOT a machine each Post-it MUST be slightly different.

Dina Danish was born in 1981 in Paris, France. She works between Amsterdam, The Netherlands, and Cairo, Egypt. In 2005 Danish graduated with BA from The American University in Cairo and subsequently received her MFA from California College of the Arts, San Francisco in 2008. A recent graduate from the Rijksakademie/De Ateliers Residency, Danish is currently a f inalist for the Celeste Prize in Rome, Italy and was the winner of the illy Present Future Prize at Artissima 18 in 2011. Her work has been featured in solo exhibitions at SpazioA, Pistoia (2012); and Barbara Seiler Gallery, Zurich (2011). She has participated in numerous group shows including Not in A Million Years, Jeanine Hofland Contemporary Art, Amsterdam (2012); Run, Comrade, The Old World is Behind You, Kunsthall Oslo (2011); and Fantasy for Allan Kaprow, Contemporary Image Collective, Cairo, in collaboration with Objectif Exhibitions and Kunsthalle Bern (2009).

Born in 1961 in Seattle, Washington, and now resident in Los Angeles, California, Sam Durant received a BFA from the Massachusetts College of Art in 1986 and an MFA from California Institute of the Arts in 1991 where he now also teaches. Durant has exhibited extensively and recently solo exhibitions of his work have been presented at Blum & Poe, Los Angeles (2012); Paula Cooper Gallery, New York (2010); and Sadie Coles HQ, London (2010). Durant’s work was also featured in dOCUMENTA (13), Kassel, (2012); I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, Museum of Modern Art, New York (2011); and Contemplating the Void, Solomon R. Guggenheim Museum, New York (2010).

For this project I would like to propose a multiple of thirty-five etchings with soap and spit bit aquatints. As a starting point these prints will be derived from the composition of a painting on panel that I f inished in the spring of 2011. This painting served as the focus of a lengthy conversation with Steven. Steven had prepared a series of questions that were essentially formulated to offer me the chance to articulate how this particular painting was related to some of the primary concepts that I was attempting to develop at the time.

Each of the thirty-five prints will be manipulated and reworked in a similar way to my paintings (largely a process of addition and subtraction). Although the ink application and removal will vary with each print, the underlying etching will remain the same.

Liam Everett was born in New York, New York in 1973. Everett lives and works in San Francisco, California where he received his MFA from California College of the Arts (2012). Everett’s recent performances include Disappearance of Tal Ben-Yaccov, Times Square Gallery, Hunter College, New York (2010) and On The Wall, ArtBasel 09, Basel (2009), and solo exhibitions of his work have been presented at Altman Siegel Gallery, San Francisco (2012); Paul Kasmin Gallery, New York, (2011); and White Columns, New York (2009). His works have also been included in “K,” CCA Wattis Institute of Contemporary Art, San Francisco (2012); Closed for Installation, 303 Gallery, New York (2010); and The Projection Project, Canada Gallery, New York (2010).

Colter Jacobsen was born in 1975 in Ramona, California and lives and works in San Francisco, California. Jacobsen received his BFA from San Francisco Art Institute in 2001. In 2010, he was selected as a SECA Art Award winner for the San Francisco Museum of Modern Art. Recent solo exhibitions of his work have been presented at Gallery Paule Anglim, San Francisco (2013); Corvi-Mora, London (2011); LA><ART, Los Angeles (2010); and the CCA Wattis Institute for Contemporary Art, San Francisco (2009). Jacobsen’s work has also been featured in the group exhibitions The Air We Breathe, San Francisco Museum of Modern Art (2011), Aktualität eines mediums, nader ahriman bis chen zhen, Galerie Krinzinger, Vienna (2010); Urban Stories, The Contemporary Art Centre, Vilnius (2009); and Four Exhibitions, White Columns, New York (2008).

Born in Burlington, Vermont in 1963, Ben Kinmont lives and works in Sebastopol, California. Kinmont has numerous ongoing projects, including the Catalytic Texts (1990–present) and Antinomian Press (1996 to present) and has staged projects and events internationally at venues including the Louvre, Paris (2005); the Institute of Contemporary Art, London; and Museum Sztuki, Lodz (2004). Recent solo exhibitions of his work have been presented at venues including the San Francisco Museum of Modern Art (2012); Kadist Foundation San Francisco (2012) and Paris (2011); and Art Metropole, Toronto (2012). Group shows include Raivo Puusemp – Dissolution, Project Art Centre, Dublin (2012); Anarchisme sans adjective, CAC Centre d’art contemporain de Brétigny, Brétigny s/, Orge (2011); DOUBLE BIND / Ârretez d’essayer de me comprendre!, Villa Arson, Nice (2010); and The columns held us up, Artists Space, New York (2009).

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In the year that I met Steven I made a group of sketches that were the beginning of a new body of work called the Twill Series. One of the sketches was of a meandering line of twill that I meant to exist only as a shape, undefined. Yet it clearly appeared in the form of an S. Because of this, I chose not to weave the design, but every time I looked back at it in the years to come, I thought of Steven. Now, here it is, the weaving of S for Steven.

Ruth Laskey was born in 1975 in San Luis Obispo, California and lives and works in San Francisco. She received a BA in Art History from the University of California, Santa Cruz in 1997, a BFA in Painting/Drawing from California College of Arts and Crafts, Oakland in 1999, and an MFA from California College of the Arts, San Francisco in 2005. In 2010 Laskey won a San Francisco Museum of Modern Art SECA Art Award. Solo exhibitions of her work have been presented at Ratio 3 Gallery, San Francisco (2010); Galerie Cinzia Friedlaender, Berlin (2009); and Song Song, Vienna (2008). Her work has also been shown in group exhibitions including A Terrible Beauty is Born, 11th Biennale de Lyon, Lyon (2011); Figures in Space, Düsseldorf (2011); and here’s why patterns, Tokyo (2008).

Adam McEwen was born in London, U.K. in 1965, and currently lives and works in New York. He received his BA at Christ Church, Oxford in 1987 and graduated from California Institute of the Arts, Valencia, CA with an MFA in 1991. Solo exhibitions of McEwen’s work have been presented at Galerie Rodolphe Janssen, Brussels (2010); Nicole Klagsbrun Galley, New York (2009); and art:concept, Paris (2007). McEwen’s work has also been included in numerous group shows such as Haunted, Solomon R. Guggenheim Museum, New York (2010); Beg, Borrow, and Steal, Rubell Family Collection, Miami (2009); The Reach of Realism, MoCA Miami (2009); Into Me/Out of Me, PS1/MoMA, New York (2006); and the 2006 Whitney Biennial.

Dave Muller was born in 1964 in San Francisco, California and lives and works in Los Angeles. He received his BAS in Chemistry and Art from the University of California, Davis in 1991 and graduated with an MFA from California Institute of the Arts in 1993. Muller has exhibited extensively and recent solo exhibitions of his work have been presented by The Approach, London (2013); Blum & Poe, Los Angeles (2012/2011); and Anthony Meier Fine Arts, San Francisco (2008). His work has also been included in the group exhibitions Abstract Now and Then, Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley (2011); The Artist’s Museum, The Museum of Contemporary Art, Los Angeles (2010); and Rock-Paper Scissors, Pop Music as Subject of Visual Art, Kunsthaus Graz, Austria (2009).

Bruce Nauman was born in 1941 in Fort Wayne, Indiana and lives and works in Galisteo, New Mexico. Nauman holds honorary Doctor of Fine Arts degrees from both San Francisco Art Institute and California Institute of the Arts. His work has been acquired by numerous international institutions including the Kunstmuseum Basel; Kunsthaus Zürich; the Hamburger Bahnhof/Friedrich Christian Flick Collection, Berlin; Museum Brandhorst, Munich; and the Centre Pompidou, Paris among others. Nauman’s work is also represented in all major national collections including the Solomon R. Guggenheim Museum and the Museum of Modern Art, New York; the Hirshhorn Museum and Sculpture Garden, Washington, DC; the Museum of Contemporary Art, Chicago; and the Los Angeles County Museum of Art. Among other large-scale international exhibitions, Nauman’s work has been included on numerous occasions in Documenta, the Whitney Biennial, and the Venice Biennale, where he won the prestigious Golden Lion Award in 1999 and again in 2009. Recent solo exhibitions of Nauman’s work have been presented at the Institute of Contemporary Arts, London (2012); the Museum of Modern Art, New York (2010); and the Hamburger Bahnhof, Museum für Gegenwart, Berlin (2010). His work has also been included in the recent group exhibitions Pacif ic Standard Time: Crosscurrents in L.A. Painting and Sculpture, 1950–1970, J. Paul Getty Museum, Los Angeles (2011–12); Then The Language of and Now Less, Museum of Contemporary Art, Chicago, (2011 – 2012); and Elogio del dubbio (In Praise of Doubt), Palazzo Grazzi, Venice, Italy (2011).

Franz Erhard Walther was born in 1939 in Fulda, Germany where he lives and works. In 1957, he enrolled in the Werkkunstschule Offenbach, where he f irst exhibited his work, and in 1959 he transferred to the Hochschule für Bildende Künste, Frankfurt am Main (Städelschule), studying there until his expulsion in 1961. From 1962 to 1964, Walther attended the Kunstakademie Düsseldorf. In 1969, his work was included in the landmark exhibition When Attitudes Become Form at the Kunsthalle Bern. Walther has exhibited extensively worldwide and has participated in Documentas 5 (1972), 6 (1977), 7 (1982), and 8 (1987). His work is on permanent view at numerous institutions including the Hamburger Kunsthalle; Kunstmuseum Bonn; Staatsgalerie Stuttgart; and Mamco, Musée d’art moderne et contemporain, Geneva, where a major retrospective of his work was mounted in 2010. Recent solo exhibitions of Walther’s work have been presented at Dia:Beacon, New York (2012); Galerie Jocelyn Wolff, Paris (2011); and the Kunstmuseum Luzern, (2010–11). His work continues to be included in numerous international group exhibitions including Locus Solus, Impresiones of Raymond Roussel, Museo Nacional Centro de Arte Reina Sof ia, Madrid (2011); Move: Choreographing You, Hayward Gallery, London (2010–11); and The Living Currrency/ La monnaie vivante, STUK, Leuven and Tate Modern (2008).

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Ben Kinmont“I am for you,” 1990/2013Card and linen bound folder containing 4 photocopied texts Folder: 13.5 x 10.5 inches Texts: 11 x 8.5 inchesSigned, dated, and numbered on folder

Ruth LaskeyUntitled (S for Steven), 2005/12 Hand-woven linen, card envelope6.3 x 4.8 inches Signed, dated, and numbered on card verso

Adam McEwenSorry Ravi Shankar, 2012Offset print on 70lb paperFolded: 8.2 x 11.3 inchesUnfolded: 24.6 x 34 inchesSigned, dated, and numbered on verso

Dave MullerBlues for Steven’s Project, 2012–13Silkscreen poster, letterpress printed certif icate, and transaction detritus 45 rpm record and sleeve (to be claimed via mail)7 x 7 x 0.1875 inchesSigned, dated, and numbered

Bruce NaumanBad Fist Good Fist, 2012 Etching12.75 x 12.75 inchesPrinted by Paulson Bott Press, Berkeley, CASigned, dated, and numbered

Franz Erhard WaltherForearm · Hand, 1969/2013Canvas, colors variableOverall dimensions 19.7 x 7.1 inchesSigned, dated, and numbered

Tauba AuerbachFiling system, 2012Digitally trimmed manila f ile foldersClosed: 11.6 x 8.75 inches; open: 7.75 x 17.75 x 11.6 inchesSigned, dated, and numbered on verso

Elisheva BiernoffSelections from the Reading Room, 2012 3 screenprints on Rives BFK 280 gsm paper and screenprinted Lenox 100 250gsm paper folder Print dimensions: 12.75 x 12 inches Folder dimensions: 13 x 13 inches All components are signed, dated, and numbered on verso

Luke ButlerArchive of Printed Material, 2012(1) Pencil on paper (2) photocopyDrawings: 8 x 11.75 inches to 11 x 13 inchesPhotocopy: Unfolded: 11 x 17 inches, folded: 3 x 4.25 inchesDrawings signed, dated, and numbered on verso

Claude CloskyEasy-Diff icult, 2012Offset print on 300gsm paper8.25 x 11.7 inches overall; c. 5.5 x 8.25 x 4.75 inches installedSigned and numbered on verso

Dina DanishBack in x Minutes, 2012Painting: acrylic on MDF board, 11.8 x 11.8 inchesCertif icate: ink on paper, 11.8 x 11.8 inchesPhotograph: lambda print, 11.8 x 11.8 inchesSleeve: ink on cardboard, 11.8 x 11.8 inches Box: ink on cardboard, 12.6 x 12.6 x 0.5 inchesSigned, dated, and numbered

Sam DurantUntitled, 2012 Polished laser-cut aluminum10 x 12.75 x .0625 inches

Liam EverettPossible directions to take regarding the if and when—or the how and why, 2012 Sandpapered soap ground aquatint and spit bite aquatint on Somerset White paperPaper size: 13 x 13 inchesImage size: 13 x 13 inchesPrinted by Paulson Bott Press, Berkeley, CASigned, dated, and numbered on verso

Colter JacobsenLeben Lernen Lieben / Live Learn Love, 2012Hand-bound book, bookmarkBook: 8.8 x 6.25 x 0.5 inchesBookmark: 7.3 x 2.3 inchesDated and numbered on bookmark

20 21

Bloom Screen Printing2310 Telegraph AvenueOakland, CA 94612

California College of the Arts, Development Off iceSusan AvilaSarah RhyinsBarbara Jones

Copy Circle Raymond Ng959 Taraval Street, San Francisco, CA 94116

John DeMerritt Bookbinding1420 45th Street #31, Emeryville, CA 94608

Impart InkNicholas James Whittington810 Walker Avenue, Apt. 4, San Francisco, CA 94610

Paulson Bott PressPam Paulson and Renée Bott2390 C Fourth Street, Berkeley, CA 94710

Ribuoli DigitalJennifer Mahlman526 West 26th Street Ste 1021, New York, New York 10011

Serra Laser Center1740 North Orangethorpe Park, Anaheim, CA 92801

Special Thanks to:Erin Fong, Western EditionsKnight LandesmanDavid LeiberJuliet MyersSébastien PluotHeidi RabbenIan ReevesDerek SullivanMolly SullivanSuzanne Walther

This catalogue is published in conjunction with Artists & Editions, 2013. RITE EDITIONS, San Francisco.

© Leigh Markopoulos and RITE EDITIONS, 2013

Designed by Peta RakePrinted by Copy Circle, San Francisco