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

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: 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 / Wang Luyan: A Conversation with Jia Wei

Zhang Wei (2017)

Zhang Wei (2019)


Out of print


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Christopher Wool: Bad Rabbit
Edition of 1,200, dated 2022, signed by the artist

Softcover with dust jacket
25.4 x 38.1 cm
192 pages
92 duotone illustrations
115.00 Euro


“When I was first at Chinati I found a piece of wire that looked exactly like my drawing line only better and I thought it was funny to take this baroque piece of wire off the Judd landscape . . . As I started to find more pieces of wire that were like drawn line, I started saving them, for no particular reason. It was only years later that it dawned on me that these flattened balls of wire could be reconfigured in a three-dimensional way.” —Christopher Wool

Bad Rabbit is Christopher Wool’s fifth artist’s book with Holzwarth Publications, and again it builds on aspects of the previous volumes. The series started with two sets of photographs of roads and littered backyards around Marfa and Donald Judd’s Chinati Foundation in Texas. For the third book, the artist superimposed two different realities in each picture; in the fourth the original photographic gaze acted as merely the basic layer for new image worlds created through processing and reproduction. Now, in Bad Rabbit, Wool directs his attention back to fragments of the original reality, turning the microcosm into a macrocosm as he takes found pieces of fencing and hay-baling wire and explores their sculptural qualities in starkly black-and-white photographs. In his sculptural practice, the artist enlarges some of these potential maquettes and casts them in bronze and steel; in the photos works collected here, the found object becomes a subject of observation, its sculptural form created in its framing and in the later treatment of the images: Wool positions each model in the center of the photo on a horizon line where the floor meets the wall. From picture to picture, the wire changes and moves, the strands rise and loop back on themselves, thicken into chaotic tangles and branch freely into the empty space. The sequence of varying and returning motifs, of varying but similar stagings, creates its own narrative, forcing us to look again and detect different imageries, while the carefully blown-out reproductions lead the wire’s freewheeling sculptural line back to the graphic flatness of the artist’s paintings.