Artist's Books / Special Editions





Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

Bonnet, Louise

Brown, Glenn

Brown, Glenn: And Thus We Existed

Butzer, André

Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022

Chinese Painting from No Name to Abstraction: Collection Ralf Laier

Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige

Demester, Jeremy

Demester, Jérémy: Fire Walk With Me

Dienst, Rolf-Gunter: Frühe Bilder und Gouachen

Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before

Ecker, Bogomir: You’re NeverAlone

Elmgreen and Dragset: After Dark

Elrod, Jeff

Elrod, Jeff: ESP

Fischer, Urs

Förg, Günther

Förg, Günther: Forty Drawings 1993

Förg, Günther: Works from the Friedrichs Collection

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Gréaud, Loris: Ladi Rogeurs  Sir Loudrage  Glorius Read

Hains, Raymond

Hains, Raymond: Venice

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Horn, Rebecca: 10 Werke / 20 Postkarten – 10 Works / 20 Postcards

Huang Rui: Actual Space, Virtual Space

Josephsohn, Hans

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Paintings and Watercolors

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge


Mikhailov, Boris: Temptation of Life

Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Mirror Paintings

Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990

Oehlen, Albert: Interieurs

Oehlen, Albert: unverständliche braune Bilder

Oehlen, Pendleton, Pope.L, Sillman

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Reyle, Anselm: After Forever

Riley, Bridget

Riley, Bridget: Paintings and Related Works 1983–2010

Riley, Bridget: The Stripe Paintings

Riley, Bridget: Paintings 1984–2020

Roth, Dieter & Iannone, Dorothy

True Stories: A Show Related to an Era – The Eighties

Tunga: Laminated Souls

Tursic, Ida & Mille, Wilfried

de Waal, Edmund: Irrkunst

Wang, Jiajia: Elegant, Circular, Timeless

Warren, Rebecca

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Road

Wool, Christopher: Yard

Wool, Christopher: Swamp

Wool, Christopher: Bad Rabbit

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: A Conversation with Jia Wei


Out of print


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Giulia Andreani
Texts Flavia Frigeri, Erik Verhagen

Englisch / French
23.5 x 29 cm
240 pages
166 color illustrations
60.00 Euro


Leaf through the book


This extensive monograph presents the full scope of Giulia Andreani’s oeuvre from 2011 to today in more than 150 paintings, watercolors, and sculptures. Artistic research on representations of women, power, and society is an essential element of the painter’s work. Thus her practice begins in archives or on the Internet, unearthing historical images of women and men who through their roles or actions embody certain aspects of social relations: resistance fighters, scientists, dictators and their wives, patriarchal artists, or children at play are either translated into portrait paintings from their sources, or they become parts of complex collaged scenarios in imaginary history paintings. All the works are held in various hues of Payne’s gray, putting their protagonists on the same stage in a dialogue across the ages. Found photographs, digital treatment, and painterly invention are equal means to arrive at a picture of the female gaze that is always to be questioned. “The artist’s take on art history is porous and to a certain extent impure,” Flavia Frigeri writes in her essay, “but it is instrumental in placing women at the center of the picture, quite literally.”


Grauzone. Giulia Andreani for the Illiterate
(excerpt from the essay by Erik Verhagen)

There is some part of mystery in the artist’s imagined path. From the discovery of her photographic sources to their appropriation and transformation, numerous mechanisms come into play that confer onto her transport de l’image a processual perspective, showing us that painting—pictorial becoming—is also temporal. The role intuition plays in her choice of photos is not insignificant. Once the source, anonymous or known, is selected, Giulia Andreani begins a process of deconstructing, erasing, filtering, enabling her to retain essential elements that, after being metamorphosed and reconverted into pictorial signs, are enhanced and combined with other ‘figures’ borrowed from complementary sources or invented expressly for this purpose. A way for her to propose new scenarios starting with a puzzle whose pieces have been rearranged. Questions of scale are clearly important here, and it is only once the works have been hung that their pictorial quality comes to the fore. A quality that evolves in keeping with the presentations and materials. Her works on paper, compact and small in format, with their unstable aqueous matter, are thus based on a different mode of functioning from that of her acrylics on canvas or paintings made in situ, conducive to creating compositions with broader iconological potentialities, exacerbating the reading grids and/or, on the contrary, neutralizing them. Because when W.J.T. Mitchell writes that images can want “nothing at all,” he grants them the right to take refuge in silence, that other figure of the neutral that, according to Barthes, refers to “a sort of timeless virginity of things, before they are born or after they have disappeared.” Depending on the situation and on our desire to engage in dialogue with them, Giulia Andreani’s paintings can be either expressive or silent. They are consequently “marked with all the stigmata of personhood: they exhibit both physical and virtual bodies; they speak to us, sometimes literally, sometimes figuratively. They present, not just a surface, but a face that faces the beholder.” They situate themselves on the threshold, and only this location can do them justice …


In collaboration with Galerie Max Hetzler Berlin | Paris | London