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Celebrating the freedom of painting, this book collects Tursic & Mille's recent forays into both abstract and figurative subjectsIn this survey of work since 2012, France-based artist duo Ida Tursic & Wilfried Mille (both born 1974) presents painting as a medium of freedom--figurative subjects such as portraits, landscapes, vintage porno and pets are balanced against or covered with colorful abstractions to rival the image overload of digital media.

On the art of Zhang Wei, pioneer of Chinese abstraction and member of the legendary No Name GroupThis volume focuses on the abstract paintings of Zhang Wei (born 1952), following his development from the abstractions of the late 1970s and early '80s--inspired by the ink paintings of Qi Baishi and the first Beijing exhibition of American abstract expressionism--toward his more fragile recent compositions.

An artist's book collecting Jeff Elrod's meditations on the ubiquity of the screenFor this publication, the Marfa- and Brooklyn-based artist (born 1966) has collected 132 inkjet and laser prints from 1996 to 2015, ranging from quick lines scratched out on a screen to painterly pieces that shimmer in deep blurriness.

The fourth in Christopher Wool's sumptuous slipcased series of limited-edition photobooksFollowing his previous limited editions with Holzwarth Publications, Road, Yard and Westtexaspsychosculpture (all published in 2017), New York-based artist Christopher Wool (born 1955) presents Swamp, a beautiful, slipcased, large-format (10 x 15 inches) paperback volume that likewise features images that have been created through processing and reproduction, in which the original photographic material acts as only the basic layer. Here, what initially appears as an unruly surface gives way to Wool's black-and-brown photographic superimpositions, fragments of motifs: backyards, abandoned car tires, huge cable drums, dead tree stumps, rusty bed frames or the wall of a shack with strange objects leaning against it. Published in an edition of 1,200, each copy is signed by the artist and dated 2019.

Presenting one of the most important private collections of Günther Förg (1952-2013), this book presents the full range of the artist's oeuvre, from his concise yet spontaneous abstract paintings to his rough sculptures that take painting into three dimensions, and his architectural photographs.

As the Cold War drew toward its tumultuous close, artists in the United States and Germany such as Isa Genzken, Félix González-Torres, Mike Kelley, Martin Kippenberger, Jeff Koons, Zoe Leonard, Albert Oehlen, Richard Prince, Julian Schnabel, Cindy Sherman, Thomas Struth, Rosemarie Trockel, Franz West and Christopher Wool responded in ways direct and indirect to the shifting order happening under their feet. This volume, published on the occasion of a group show at Galerie Max Hetzler, travels between the centers of art in America and German-speaking Europe: Los Angeles and New York, Cologne and Vienna. As these cities, at the center of the world's realignment of values and politics, conversed with each other, it became apparent that their artistic rebellion was poised to overthrow the aesthetics of the past for a new freedom of idiosyncratic approaches.

Presenting one of the most important private collections of Günther Förg (1952-2013), this book presents the full range of the artist's oeuvre, from his concise yet spontaneous abstract paintings to his rough sculptures that take painting into three dimensions, and his architectural photographs.

This book documents French conceptual installation artist Loris Gréaud's (born 1979) transformation of Max Hetzler's galleries in Paris and Berlin into otherworldly landscapes featuring spores hanging from the ceiling, tree sculptures with flailing limbs and waste collected from locations in Andrei Tarkovsky's 1979 film Stalker.

Albert Oehlen (born 1954) and Julian Schnabel (born 1951) have been friends for three decades and now interconnect their artistic positions and shared past. Beside large-format canvases and smaller works on paper, the two present portraits they painted of each other.

For her 2017 exhibition at Galerie Max Hetzler in Paris, Bridget Riley (born 1931) installed eight canvases and two wall works--all part of her Disc Paintings series (2016-2017), in which colored discs are arranged in a diagonal grid, their palette--off-green, off-violet and off-orange--inspired by Seurat.

With reproductions of works ranging from his classic torn posters to mixed-media installations, this book investigates French artist Raymond Hains' (1926-2005) fruitful relationship with Venice, from his residency in the city throughout the '60s to his posthumous inclusion in the 2017 Venice Biennale.

This book presents a show of interrelated paintings and sculptures by French artist Jérémy Demester (born 1988). An essay by psychoanalyst Annabelle Gugnon, exploring the mythical themes of his work, accompanies images of "undead still lifes," sky paintings and totemlike sculptures.

While Richard Prince (born 1949) is most often discussed for his strategies as an appropriation artist--from the Marlboro cowboys in the 1980s to the Instagram portraits today--it is his own work as a painter that stands at the center of his approach: starting with paintings of jokes and cartoons, following up with, among other things, nurses and cowboys taken from the covers of dime novels, and freewheeling riffs on Picasso and de Kooning.For his extensive new series Super Group, Prince uses objects loaded with meaning: the inner sleeves of vinyl records, which he collages on canvas and then overpaints with band names, abstract washes and funny figures. Richard Prince: Super Group presents 51 works in this new series, engaging with the question of how we define ourselves by our choices of objects, images and music.

Adam Pendleton initiierte diese Gruppenausstellung als eine Erkundung künstlerischer Sprache. Einige Werke enthalten Wörter, aber vor allem geht es um Ideen, Prozesse und Technologien, die in das Konzept der Malerei einfließen.In Zusammenarbeit mit Galerie Max Hetzler

Bridget Rileys Kunst speist sich aus dem Interesse der Künstlerin an Formen und Farben der Malereigeschichte, die sie von ihrer ursprünglichen Darstellungsfunktion trennt und so neue Klänge und Bedeutungen findet. Mit jeder Bildserie fügt sie ihrem Werk etwas hinzu - und in diesem Buch, bereits ihrem fünften bei Holzwarth Publications, begegnen wir den jüngsten Ergebnissen: Da sind die Intervals, bei denen sie breite horizontale Streifen in vergrauten Grün-, Violett-, Orange- und Türkistönen auf weißem Grund übereinander stellt. Die Anordnung folgt keiner mathematischen Regel: "Wenn klar geworden ist, dass es kein festes Prinzip hinter den Permutationen gibt", schreibt Éric de Chassey in seinem Essay, "können sich Geist und Auge auf die Harmonie des Gesamtbildes einlassen, die durch den Rhythmus der Veränderungen einzelner Elemente entsteht". Bilder der Serie Measure for Measure sind in ähnlichen Tönen gehalten, aber durch die Komposition in farbigen Kreisen haben sie einen luftigen, schwebenden Charakter, jede Farbe wirkt auch für sich allein. Diese neuen Arbeiten werden an allen drei Ausstellungsorten der Galerie Max Hetzler in Berlin zu früheren Leinwänden und Wandmalereien seit 1984 in Beziehung gesetzt. Hier zeigt sich, dass Rileys Werke immer eine Bilanz dessen sind, was sie bereits erreicht hat, und gleichzeitig Vorarbeiten für künftige Bilder.