Artist's Books / Special Editions





Almond, Darren: All Things Pass

Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landscapes

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

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

Grosse, Katharina: Spectrum without Traces

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: Circles and Discs

Riley, Bridget: Paintings and Related Works 1983–2010

Riley, Bridget: The Stripe Paintings

Riley, Bridget: Paintings 1984–2020

Roth, Dieter & Iannone, Dorothy

Sammlung im Wandel: Die Sammlung Rudolf und Ute Scharpff

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

Zeng Fanzhi: Old and New. Paintings 1988–2023

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: A Conversation with Jia Wei


Out of print


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Robert Holyhead
Text David Ryan

English / German

24 x 29 cm

64 pages

23 color illustrations


35.00 Euro


Leaf through the book


“My enquiries come down to trying to answer the question: “What is painting?” says the young British artist Robert Holyhead. “The more I think about abstraction and painting the more I understand that what I’m trying to make is a painting. I’m not trying to arrive at a conclusion.” Painted with swift monochrome brushstrokes, Holyhead’s small-sized abstract oil paintings have the lightness of watercolours. Layering the paint in different shades of opacity and wiping out forms to let the white primer shine forth, the artist carefully balances his fragile and elegant compositions. This book presents a work group shown at Galerie Max Hetzler in Berlin 2014, complete with detail and installation shots and an essay analyzing Holyhead’s work process.



(excerpt from the text by David Ryan)

Painting acts as a combination of timbres and temporalities (in that surface mark and colour are intertwined). Holyhead has spoken of slowing the viewer down, and of course, while painting is often seen as an instantaneous medium – of being taken in all at once – this belies the excavation of time in which every ‘look’ partakes. Similarly, at the time of their making, a binary negotiation of both precision and action – of pre-meditation and improvisation – is crucial to how these paintings work. Through the process of wiping, Holyhead to some extent covers his tracks; a painting may be repainted over and over again while its results are wiped back. To allow too much accumulation or sedimentation would sacrifice its clarity. it is a process that cuts back in order to show the internal spatial possibilities that a painting can hold. It is not for nothing that Holyhead speaks of ‘piercing the space open’, since he undoubtedly glimpses potential formal interrelationships during the process of painting that ultimately may only be leads that have to be jettisoned. After meticulous preparation of the canvas – consisting of layers of primer and culminating in an oil ground – the painting is executed in an unusually small window of time: one or two days per painting, which also gives the works a performative brinkmanship – they must be resolved in a relatively short period of time.



In collaboration with Galerie Max Hetzler, Berlin, and Ridinghouse, London