All Editions Made by Artists for Parkett
In addition to being featured with three to five texts in her or his volume, each collaborating artist created a special limited edition which could take any form; from print or photograph to object, installation, video, or unique work of art. Over time the 270 editions have become a small museum of contemporary art and a survey of a wide and diverse range of artists positions across more than three decades.
“If asked to choose a favorite among Parkett’s artist editions over the past 33 years, my definitive answer would be 'All of them.' The individual editions are wonderful, but collectively they form an extraordinary … collection that charts a vast array of changes that have swept through the art world since the 1980s … including the inevitable march of new and old ideas … and the increasing interconnectedness of artistic centers across the globe…”
Glenn Phillips, Curator and Head of Modern & Contemporary Collections, Getty Research Institute, Santa Monica, California
Explore all works by media, theme and availability or search the page by using the below filters. For any new filter search simply reset the filter by deleting the “x” from the previous search word.
Read a Parkett Text on Franz Ackermann
Parkett Vol. 68
Quote from Parkett
“(Ackermann’s) subjective anti-maps decompose the territorial order usually associated with various kinds of urban and suburban spaces, willfully corroding the representational protocol of topographical systems, while suggesting that there is always an interconnection between organization and chaos."
Joshua Decter, Parkett No. 68, 2003
Additional Quote
“Rendered in the arid tones of a sizzling hot summer's day, Ackermann's aptly titled Peak Season features notable sites and tourist attractions interconnected with black blossoming vines, drawing attention to the forces of globalization and the ease with which one can travel from one place to another in a matter of hours. As always the notion of tourism comes strongly into play in this complex ten-color screenprint, making it a prime example of Ackermann's practice of both glorifying and critiquing the jet-setting habits of contemporary society. “
- Fineartmultiple
Peak Season, 2003
10-color silkscreen print on Somerset 300g/m2,
paper size: 19 11/16 x 27 9/16 (48 x 68 cm),
image size: 18 7/8 x 26 3/4 (45,7 x 66 cm),
printed by Werkstatt für Kunstsiebdruck Munich,
Ed. 70/XXX, signed and dated bottom right, numbered bottom left.
Read a Parkett Text on Eija Liisa Ahtila
Parkett Vol. 68
Quote from Parkett
“Ahtila’s moving pictures often revolve around the house: around the objects and people that enter it from the outside and close it off from the inside. Access roads, parking places, bridges along the way, doors that are opened into the house from outside by odd visitors, curtains that keep out the light, cars that traverse the walls of the rooms, beds under which one can hide, drafts that undo everything: the picture that Ahtila conjures of a house is a fragile affair, somewhere between dollhouse and house of cards, model and construction site.”
Gertrud Koch, Parkett No. 68, 2003
Additional Quote
“A pure wool jacket emblazoned with text on both front and back, Ahtila here moves away from her realm of experimental filmmaking and moving image melodrama to produce a truly unique multiple. "Veil of ignorance" is printed on the back of the garment whilst it is mirror-inverted on the front, making it so that it is legible for others from behind and to oneself when standing in front of a looking glass. Released with the statement that "Ignorance is the mirror of knowledge", this fascinating piece is available in 5 different sizes and published in a limited edition of only 70. The dark suits appear like an official uniform, suits of bureaucratic authority. Although portrayed by the models in poses that evoke a fashion shoot, the printed text acts as a constant self-reflexive reminder to the wearer to not relinquish knowledge for ignorance.”
-Fineartmultiple
Veil of Ignorance, 2003
Pure wool jacket with text printed on front (mirror-inverted) and back,
handprinted silkscreen lettering by Atelier für Siebdruck Lorenz Boegli, Zürich,
available in 5 sizes,
Ed. 70/XXV, signed certificate
Complimentary Shipping.
Read a Parkett Text on Ai Weiwei
Parkett Vol. 81
Quote from Parkett
"I make the useful become not useful . . . It is a basis for dealing with perception and when you think about how people use an object, you're also using so-called knowledge in the sense that "useful" has a meaning. The meaning is the use. And that plays a great role in human understanding and culture."
Ai Weiwei in conversation with Jacques Herzog, Parkett No. 81, 2003
"Swatter", 2007 (for Parkett 81)
Brass, gilded,
19 3/4 x 2 3/4 x 2/8” (50 x 7 x 0,5 cm),
Ed. 55/XXV, signed and numbered certificate
Read a Parkett Text on Doug Aitken
Parkett Vol. 57
Quote from Parkett
"Aitken’s great technical mastery is obvious in the framing of his shots, the precision with which he captures the light, and the perfection of his editing, which alternates shots of nature with the motion of the machines. A sound mix of intelligent techno music provides rhythm for the ensemble of screens and images. A narrative subjectivity emerges out of this unexpected encounter, one with an ideological viewpoint on the world in all its contemporary complexity.”
Christine van Assche, Parkett No. 57, 1999
Additional Quote
“Doug Aitken's cryptically entitled multiple consists of a kite made of mylar, wood, plastic, and fabric, as well as a commercially printed poster. Designed to shimmer in the sky, the kite has a mirrored surface, clearly seen in the poster which shows it in flight. Interestingly Aitken here gives us the object itself and documentation of the object in action, harnessing something built for movement and flying in the form of an edition.”
-Fineartmultiple
"Decrease the Mass and Run like Hell", 1999 (for Parkett 57)
Mirror kite, ca. 34 x 33 1/2” (86,5 x 85 cm),
tail 37 3/8” (95 cm), with poster of flying kite, 20 x 15 5/8” (50,8 x 38 cm),
Ed. 60/XX, stamped signature and number on tab attached to kite.
Read a Parkett Text on Allora & Calzadilla
Parkett Vol. 80
Quote from Parkett
“...materiality and metaphoricity constitute a couple. In other words, a material is never simply self-evident in its meaning; it is always marked with histories, cultures, and politics that are at once irreducible to and indissociable from the material in question. Any material is going to have the weight of history inscribed in it. The time of the world is there; geologically, geopolitically, there is always an allegorical dimension to materials. A tropical plant, for instance, cannot be treated as a bare biological life without effacing its colonial genealogy, even though we are quite interested in the actual temporalities and processes of the living organism as a sculptural problematic.”
Jennifer Allora / Guillermo Calzadilla Interview in Parkett No. 80, 2007
"Deadline", 2007 (for Parkett 80)
DVD from 16 mm color film, 3 min.,
signed and numbered certificate,
Ed. 28/XVI
Very limited availability
A ‘retrospective’ of twelve cast tin figures, which represent characters from various videos and performances by the artist, and sit inside a custom-made cardboard suitcase.
Read a Parkett Text on Pawel Althamer
Parkett Vol. 82
Quote from Parkett
“Althamer becomes a part of his medium, in both a material and spiritual sense. It is as though he invites us to share in a waking experience of lucid dreaming where ordinary rules do not apply and where we may begin to become newly absorbed by our surroundings with an acute, hallucinatory perceptiveness.”
Catherine Wood, Parkett 82, 2008
”Retrospective”, 2008 (for Parkett 82)
12 tin figures, each approx. 1 1/8 to 3 1/2“ (3,5–9 cm) high,
cast by Michal Nowicki, Warsaw, in custom-made cardboard suitcase,
6 5/8 x 9 1/2 x 3 1/8“ (17,5 x 24 x 8 cm),
Ed. 38/XXV, signed and numbered certificate
Very limited availability
Read a Parkett Text on Kai Althoff
Parkett Vol. 75
Quote from Parkett
“Kai Althoff’s installations are scenarios of initiation that bring to life manifestations of extremely specific worlds. They are populated by an arsenal of real or invented characters, all of them absorbed by the artist as alter egos. Detached from their original historical and biographical contexts, they represent various aggregate states of individual and collective being—from compulsive brutality to ethereal spirituality.”
Oliver Koerner von Gustorf, Parkett No. 75, 2005
Additional Quote
“Kai Althoff is a multimedia artist, painter, and musician. He borrows from history, religious iconography, and countercultural movements to create imaginary environments in which paintings, sculpture, drawing, video, and found objects commingle. For “Paden”, his Parkett project, he conceived a special fragrance and designed a beautiful custom made, mouth blown glass bottle.”
-Fineartmultiple
”Paden", 2005 (for Parkett 75)
Fragrance and bottle
conceived and designed by the artist, mouth blown glass
with oxidation (each unique),
approx. 7 x 6 2/8 x 2” (18 x 16 x 5 cm),
production by Matteo Gonet, Glassworks + Design, Zurich,
Ed. 55/XXV, signed, numbered, and titled on ribbon.
Read a Parkett text on Francis Alys
Parkett Vol. 69
Quote from Parkett
“Fragments of refuse, abandoned and divorced from their original purpose are galvanised into action. Like a small artillery of children’s pull-toys, or dispirited trash puppies, you can imagine these ‘ghetto collectors’, as the artist calls them, trailing through urban backlots, gathering debris beneath their already tired wheels. Alÿs looks at growth and change in society, particularly in urban environments. Here he tracks our insatiable consumption while on a continual path of waste and refuse. This is ironically packaged in the form of harmless plaything.”
Robert Storr, Parkett No. 69, 2003
"Ghetto Collector", 2003 (for Parkett 69)
Tin, magnets, plastic string, rubber wheels, 25 design variations,
approx. 6 1/2 x 9 x 5” (15 x 24 x 13,8 cm),
Ed. 99/L, signed, numbered, and dated on inside of tin door.
Last available work from a previously sold-out edition.
Complimentary shipping.
Read a Parkett Text on El Anatsui
Parkett Vol. 90
Quote from Parkett
"Anatsui responds to every material he works with as if he has encountered it for the first time in the flux of history, all the while concentrating on how he might exploit a material’s most meaningful plastic potential. He is driven by the desire to incessantly experiment and sculpturally analyze whatever material he is working with—clay, wood, cement, meta, et al. —as he tests the possibility of what each may yield in relation to scale, presence, color, shape, and idea."
Okwui Enwezor, Parkett No. 90, 2012
"Diaspora, 2012" (for Parkett 90)
Archival dyes printed on cotton cloth,
hand stitched, approx. 54 x 54” (135 x 135 cm).
Ed. 35/XX, signed and numbered
Sold Out. For updates on availability, please inquire by joining our waiting list
This small-scale sculptural sound work is to be worn like an earpiece, and delivers a short message of the artist playing the violin and whispering in the listener’s ear.
Read a Parkett Text on Laurie Anderson
Parkett Vol. 49
Quote from Parkett
“Firmly rooted in time and in the world, her art explores a territory between keen wakefulness and (day)-dreams, where things of the real world and visions together penetrate consciousness, where perception stimulates dreams, and dreams sharpen perception. …For almost three decades, ceaselessly circling themes and motifs in text, image, and music have been coupled in Laurie Anderson’s performances and installations with new material, forever evolving in a cosmology-in-flux, in the endless flow of a great work in progress.”
Jacqueline Burckhardt, Parkett No. 49, 1997
Additional Quote
“Anderson's ingenious multiple takes the form of a seemingly decorative earring made up of a lithium battery, a circuit board, and a loudspeaker. Blending aesthetics with technology, it allows the delivery of a private sound message from the artist to the wearer. Designed to be worn rather like the earpiece of presenters and security guards, this work is firmly rooted in the real world and reveals Anderson's longstanding preoccupation with interactions between music and sculpture.”
- Fineartmultiple
"Hearring", 1997 (for Parkett 49)
Earring with playable sound message (approx. 20 sec.),
brass, copper, circuit board, loudspeaker, lithium battery,
Plexiglas, wires, approx.
size: 3 3/8 x 1 3/4 x 1” (10,2, x 4,5 x 2 cm),
jewelry by Josiah Dearborn, engineering design Bob Bielecki
Ed. 150/XXX, inscribed with monogram and edition number.
Read a Parkett Text on John Armleder
Parkett Vol. 50/51
Quote from Parkett
“The idea one gets when looking at the work of John Armleder is the idea of the twentieth century itself, the age of modernity. This is not only because he uses an abstract pictorial vocabulary, but also because he uses objects that have served to construct the new life of this century.”
Giacinto di Pietrantonio, Parkett No. 50/51, 1997
"Untitled" , 1997 (for Parkett 50/51)
Unique Perspex sculptures in
fluorescent colors: yellow,
light blue, orange, or colorless,
approx. 16 x 16 x 8”
(40,6 x 40,6 x 20,3 cm),
Ed. 50/XX, inscribed signature and edition number,
yellow: 1–20, blue: 21–33,
orange: 34–42, colorless: 43–50
Read a Parkett Text on Richard Artschwager
Parkett Vol. 23
Quote from Parkett
“An Artschwager chair is a chair distilled to its platonic essence, all trace of ornamentation edited and pruned away, abridged to the intellectual state of chairhood, part of a kit through which we teach the meanings of ‘chair’ and ‘table.’”
Arthur C. Danto, Parkett No. 23, 1990
"Hair Box," 1990 (for Parkett 23)
Paint on rubberized hair, wood backing,
10 x 15 x 5” (25,4 x 38 x 13 cm),
Ed. 100/XX, signed and numbered on label, verso.
Sold Out. For updates on availability, please inquire by joining our waiting list
Read a Parkett Text on Richard Artschwager
Parkett Vol. 46
Quote from Parkett
“What is American about Artschwager’s objects goes beyond analogy—and there is more to it than the aggressive way they display their surface textures. Whether Formica or fiberboard, flowing grain or rigid pattern, their surfaces appear hermetic. Their sheer size further reinforces their presence as pure surface…They are like those organisms that have settled into extreme ecological niches, just below the boiling point of water, or in the anaerobic ocean depths. That is the kind of position that Artschwager’s objects occupy in the realm of art objects: By scale and texture, they have one foot in the world of objects and one foot in the world of art.”
Kurt W. Forster, Parkett No. 46, 1996
"Untitled (1000 Cubic Inches)", 1996 (for Parkett 46)
Plywood and pine with steel hardware,
Ed. 60/XL, signed, numbered, and dated on interior.
No. 1 ed. 1–12/60
No. 2 ed. 13–24/60
No. 3 ed. 25–36/60
No. 4 ed. 37–48/60
No. 5 ed. 49–60/60
Sold Out. For updates on availability, please inquire by joining our waiting list
The epidermis of the head and neck of the artist’s most recent digital surrogate— made real and human-scaled. Used in his video, Safe Conduct, this epidermis of the artist’s surrogate has been carefully bespoke-bruised, battered— flecked and streaked with grime, tears, exposure. Printed on rubber, the surrogacy of the artist’s digital figure becomes that of a mask.
Read a Parkett Text on Ed Atkins
Parkett Vol. 98
Quote from Parkett
"This isn't art about intimacy in the digital era; it's using the digital form to illuminate something much closer to the core of intimacy itself - how we seek it from each other and from art; how we can experience simultaneous attraction and revulsion to expressions of feeling."
Leslie Jamison, Parkett No. 98, 2016
Additional Quote
“You'd be hard-pressed to find an artist whose work is as viscerally affecting—haunting even—while at the same time clearly breaking new ground in the possibilities afforded art by new technology. Ed Atkins is a tough artist, and this is a tough image printed on rubber, but, since it makes uncommonly palpable the vulnerable synthetic skins that distinguish his videos, it's an important one.” - Artspace
"Safe Conduct Epidermal", 2016 | (for Parkett 98)
Archival pigment print on rubber,
60 x 51 x 0,1 cm (23 5/8 x 20 x 1/8”), two grommets, printed by Laumont, New York.
Ed. 35 / XX, signed and numbered certificate.
Nairy Baghramian‘s two-part sculpture “Maintainers” consists of a cast of wax used for polishing aluminum and a seemingly identical aluminum cast. The two objects appear in close relationship and interact throughout the artist‘s serial casting process, as the wax cast is potentially consumed during the polishing act. The work playfully explores Nairy Baghramian‘s conceptual interests in “... thingly speculations, ... the organic and the mechanic, ... and the corporeal and the mental". (Caoimhín Mac Giola Léith in Parkett 100/101)
Read a Parkett Text on Nairy Baghramian
Parkett Vol. 100/101
Quote from Parkett
"Baghramian has often argued against both didactic art, on the one hand, and the adoption of social or political activity as a substitute for art in pictorial or sculptural form on the other. Even so, it is tempting to view the signature stratagem just outlined, her sculptures’ proclivity for boundaries, as emblematic of so many regulatory interventions or blockages in the flow of people, resources, ideas, capital across the world’s borders, many of which are currently being refortified and increasingly policed after a sustained period of relative relaxation."
Caoimhín Mac Giola Léith, Parkett 100/101, 2017
"Maintainers", 2017 (for Parkett 100/101)
2 parts, cast aluminum and cast polishing wax
Cast aluminum: 11,5h x 7d x 4,8w cm / 4.53 x 2.76 x 1.89”
Cast polishing wax: approx. 4,8h x 11,5d x 7w cm / 1.89 x 4.53 x 2.76” (1.7kg 3.75lb)
Ed. 28 + XII + 10 APS, signed and numbered certificate
To inquire for availability please email us here
Featuring six different mouths in eight colors, this photographic screen print on a porcelain enamel steel plate is resistant to outdoor conditions.
Read a Parkett Text on John Baldessari
Parkett Vol. 29
Quote from Parkett
“On the evidence of his images, Baldessari argues for the metaphysical atmosphere of pictoriality and the pictorial nature of abstraction… Thus, any image that aspires to portray the historical moment must do so by enclosing it—by stopping its pulse and suspending the laws of its nature.”
Dave Hickey, Parkett No. 29, 1991
"Six Colorful Expressions (Frozen)", 1991 (for Parkett 29)
Porcelain enamel steel plate, eight
color photographic screen process print,
imaged by a proprietary photographic ceramic process,
impervious to environmental influences,
10 7/16 x 4 3/4 x 1/16” (26,5 x 12 x 0,2 cm),
Ed. 75/XX, signed and numbered on label, verso
Sold-out. Please Inquire.
Crooked wrinkles transition into multicolored straight lines across a stark blue background, demystifying abstraction.
Read a Parkett Text on John Baldessari
Parkett Vol. 86
Quote from Parkett
“...when I was a painter I would work on a single image, because that’s what you do. But when I got into photography I had the liberty of not using a single image. I‘m not sure how I made that leap. I have a hard time with a single image because, in my mind, it’s like one truth. And I’m always thinking, ‘well, on the other hand there is this.’”
John Baldessari interview with James Welling, Parkett No. 86, 2009
Additional Quote
“In this nine-color silkscreen print on Plexiglas by famed West Coast Pop artist John Baldessari, an old man's wrinkled forehead becomes the site of artmaking, or rather, a joke on the process. The crooked wrinkles on the left side of the work become "translated" into multicolored lines across a stark blue background. Baldessari here demystifies abstraction.” - Artspace
"Raised Eyebrows / Furrowed Foreheads: Crooked Made Straight", 2009 (for Parkett 86)
9-color silkscreen print on plexiglass,
5 x 12” (12,5 x 31cm)
Printed by Atelier für Siebdruck,
Lorenz Boegli, Zurich
Ed. 45/XX, signed and numbered certificate
*Frame not included. Please inquire for framing.
The figures in Balkenhol’s sculptures are often carved from wood using traditional tools and techniques. "Two Lizards and a Man" – all three in the same size – is one of the artist’s first cast metal works.
Read a Parkett Text on Stephan Balkenhol
Parkett Vol. 36
Quote from Parkett
“Balkenhol’s sculptures derive their qualitative currency and significance from their origin in two diametrically opposed fields. They draw on the rational, sober, anorganic, and serial character of Minimal Art; yet they also provide immediate sensual access to the world.”
Max Katz, Parkett No. 36, 1993
"Two Lizards and a Man*, 1993 (for Parkett 36)
Group of three cast lead figurines,
each figure approx. 11 7/8 x 5 1/8 x 1 1/2”
(30 x 13 x 4 cm), weighing approx. 4.5 lbs. each,
cast by Bärtschi Foundry,
Aefligen, Switzerland,
Ed. 85/XXV,
Engraved “St. B” and edition number on each figure. Lizard has label printed “Stephan Balkenhol Edition for Parkett No. 36”.
Sold Out. For updates on availability, please inquire by joining our waiting list
Read a Parkett Text on Matthew Barney
Parkett Vol. 45
Quote from Parkett
“Barney’s work has always involved a carefully balanced combination of exoteric and esoteric elements, aspects that anyone can follow and enjoy mixed in with cryptic signs and personal myths almost impossible to decipher... Part of Barney’s skill lies in creating initial scenographies so compelling in visual terms that it is almost impossible for the viewer not to be drawn in by them.”
Norman Bryson, Parkett No. 45, 1995
Additional Quote
”If you could lift this dumbbell, gleaming like a sceptre or a sword with a satin blade, what power would you wield? The luscious textures of silken ribbon, a smooth and perfectly formed pearl and glistening sugar crystals make this ‘sweet bolus’ an object of almost consumable desire. A bolus is actually the word given to a soft mass, like that of food just before swallowing. Matthew Barney often concentrates on the function of our bodies in his work, and is involved in an ongoing series in which he restrains his body while creating drawings.”
"Sweet Bolus", 1995 (for Parkett 45)
Cast sugar and Viratex epoxy resin
on satin ribbon with single cultured pearl,
dumbbell: 3 7/8 x 4 x 11 1/2” (8,5 x 9 x 30,7 cm),
overall length with satin ribbon 26 1/2” (67 cm),
Ed. 50/XXV, signed and numbered
Sold Out. For updates on availability, please inquire by joining our waiting list
Read a Parkett Text on Yto Barrada
Parkett Vol. 91
Quote from Parkett
"Yto Barrada’s photographs are fragments of a language of orientation, paralysis, pain, fragile resistance, a declaration of love for a city that signifies home, politics, commodities, trade—and life. The artist’s pictures dawdle and dally as if they had all time in the world, only to spin a web of illusions and information."
Urs Stahel, Parkett No. 91, 2012
Additional Quote
“Documenting details of life in Morroco, Yto Barrada’s photographs and films select evocative scenic details for greater study or contemplation. In her 2001 photographic diptych Aquariums for Sale on a Rainy Day, Tangier, Barrada finds a wistful image. Inside the stacked aquariums water is both strictly contained and required for sustaining life, outside it drips by, transient.” -Artspace
"Aquariums for Sale on a Rainy Day, Tangier", 2001 (for Parkett 91)
Two C-Prints,
10 1/4, x 11” (26 x 28 cm) each.
Ed. 35/XX, signed and numbered certificate.
Complimentary shipping
Possibly one of the smallest depictions of a face by Baselitz, this diptych etching is rendered with the artist’s signature expressionistic upside-down lines.
Read a Parkett Text on Georg Baselitz
Parkett Vol. 11
Quote from Parkett
“In Baselitz’s work, sculpture and painting represent two forms of what might be called his ‘opinione contraria,’ to cite Vasari’s Mannerist expression in referring to Rosso. It signifies the opposition and commitment involved in freeing expression and exposing the aggression of structure.”
Eric Darragon, Parkett No. 11, 1986
Face and Teardrop, 1986 (for Parkett 11)
Drypoint etching
on stenciled english-red ground of two plates on Zerkall
book paper 145g, bound in the magazine,
left plate: 5 x 3 1/8” (12,7 x 7,9 cm),
right plate: 4 13/16 x 2 13/16” (12,3 x 7,1 cm),
paper size: 10 x 8 1/4“ (25,5 x 21 cm),
Ed. 60/XV, signed and numbered on opposite page.
Sold Out. For updates on availability, please inquire by joining our waiting list
Read a Parkett Text on Vanessa Beecroft
Parkett Vol. 56
Quote from Parkett
“...Beecroft does something no one else does—she does images live. And that changes everything. Even though most viewers probably only know her work through photographs and videos, it’s the staging and theatricality of the live event that make these images of girls, whose vacancy and seductive appeal are equally pronounced, so compelling.”
Jan Avgikos, Parkett No. 56, 1999
"Untitled", 1999 (for Parkett 56)
Five silkscreen color prints
of photographs from the artist’s archive
(VB08, VB35, VB16, VB39 & VB39),
19 7/8 x 27 7/16” (49,9 x 70 cm) each,
printed by Lorenz Boegli, Zurich,
Ed. of 50/LV, signed and numbered certificate
Very limited availability. Complimentary shipping.
Read a Parkett Text on Ross Bleckner
Parkett Vol. 38
Quote from Parkett
“The question of whether Bleckner is an abstractionist or an expressionist completely misses the point: that he is avid to demonstrate the most intimate pulse of consciousness lurking behind a veil of abstract energy—‘dematerialized life,’ as he calls it. Or he can call a painting ‘a language to think thought…’”
Edmund White, Parkett No. 38, 1993
Untitled, 1993 (for Parkett 38)
Watercolor, inks, and wax on watercolor paper
in handpainted and waxed wooden desktop picture frame. Each unqiue
11 x 9” (27,8 x 22,8 cm),
Ed. 100/X, signed and numbered verso, underneath mat.
Very few remaining. For availability of unique works, please contact us
Read a Parkett Text on Tomma Abts
Parkett Vol. 84
Quote from Parkett
“Abts' compositions in fact emerge out of the give-and-take that comes with the application of numerous successive layers of paint and through choices being elaborated over many months. Interlocking linear elements might float across densely layered fields, objective aggregations of the thin strata.”
Suzanne Hudson, Parkett 84, 2008
Additional Quote
“Painter Tomma Abts here creates a winding, silvery form that draws attention to the act of painting. In this print, the metallic and black abstraction forces one to consider, and follow, its path around the canvas. The print truly bears the stamp of the artist, measuring exactly 48 x 38 cm—the framework Abts sets up for each piece she creates. The abstract geometric forms of the print are equally characteristic of the artist's non-representational style of working and refer to themselves and themselves only, disentangling the artist from any form of symbolism and figuration.”
-Fineartmultiple
Untitled (Uto), 2008
Archival pigment print on Angelica paper, mounted on sintra,
framed, paper size: 15 7/8 x 19 3/4 (50,5 x 40,5 cm),
image size: 15 x 18 7/8 (48 x 38 cm),
printed by Laumont, New York, Ed. 45/XXV, signed and numbered certificate