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拍品專文
Including:
ENZO CUCCHI, Elegy and Etching (Parkett 1)--aquatint and drypoint, 1983, signed in pencil, numbered 9/80, bound in the magazine. 10 x 16½ in.
SIGMAR POLKE, Disasters and other Bear Wonders (Parkett 2)--unique photograph, 1982-4, signed and dated in ink on the reverse, the edition was 60, framed. 11 x 15 in.
MARTIN DISLER, In the Erotic Space of a Head (Parkett 3)--drypoint, aquatint, open bite and sugar lift, 1984, signed and dated in pencil, numbered 14/50, bound in the magazine. 10 x 8¼ in.
MERET OPPENHEIM, Glove (Parkett 4)--screenprinted and hand-stitched goat suede gloves, 1985, presumably signed, with the magazine, the gloves framed. 12½ x 16½ in.
ERIC FISCHL, Squatter (Parkett 5)--aquatint and sugar lift, 1983, signed in pencil, numbered 71/100, bound in the magazine. 10 x 8¼in. JANNIS KOUNELLIS, Untitled (Parkett 6)--photo-etching, aquatint and scraping, 1985, signed in pencil, numbered 11/80, bound in the magazine. 10 x 8¼ in.
BRICE MARDEN, Etching for Parkett (Parkett 7)--sugar lift and aquatint, 1986, signed in pencil, numbered 92/100, bound in the magazine. 10 x 8¼ in.
MARKUS RAETZ, Untitled (Parkett 8)--aquatint and sugar lift, 1986, signed with initials in pencil, numbered 31/40, bound in the magazine. 10 x 16½ in.
FRANCESCO CLEMENTE, Reconciliation (Parkett 9)--drypoint and etching, 1986, signed in pencil, numbered 72/100, bound in the magazine. 10 x 16½ in.
BRUCE NAUMAN, Violent Incident--Man-Woman Segment (Parkett 10)--30 minute videotape in colors with sound, 1986, signed in ink on the video label, numbered 180/200. 10 x 7 in.
GEORGE BASELITZ, Face and Teardrop (Parkett 11)--drypoint, etching and stencil, 1986, signed in pencil, numbered 47/100, bound in the magazine. 9 x 5 in.
ANDY WARHOL, Photo Etching for Parkett (Parkett 12)--machine sewn photo-etchings, 1987, signed in pencil on the reverse, from the edition of 120, with the magazine, the photo-etching framed. 7 x 9½ in.
REBECCA HORN, The Double (Parkett 13)--silver-plated brass hammer, 1987, with the incised initials, numbered '92' of 99. Length: 10 in.
GILBERT & GEORGE, Untitled (Parkett 14)--photograph, mounted on cardboard, 1987, signed in silver pen, numbered 151/200. 10 x 16½in. MARIO MERZ, Untitled (Parkett 15)--etching, sugar lift, drypoint, aquatint, 1988, signed in pencil, numbered 88/100. 8 x 10 in.
ROBERT WILSON, A Letter for Queen Victoria (Parkett 16)--lithograph, 1988, signed, titled and dated in pencil, numbered 41/80, bound in the magazine. 10 x 24 in.
PETER FISCHLI/DAVID WEISS, Record (Parkett 17)--the record, 1988, signed by both artists in white ink, numbered 88/120. Diameter: 11in.
ED RUSCHA, Hell ½ Way Heaven (Parkett 18)--lithograph, 1988, signed and dated in pencil, numbered 43/100, bound in the magazine. 10 x 24 in.
JEFF KOONS, Signature Plate (Parkett 19)--porcelain plate, 1989, numbered 74/80. Diameter: 10¼ in.
MARTIN KIPPENBERGER, 80 Unique Books 'Beim Disco-Friseur', (Parkett 19)--the unique book of 259 offset prints, 1989, signed and dated in pencil, from the edition of 80, with the magazine. 6 x 3¾ in.
TIM ROLLINS + K.O.S, South Bronx (Parkett 20)--offset lithograph, 1989, signed, titled and dated in pencil on the reverse, numbered 68/80, framed. 12 x 9in.
ALEX KATZ, Black Pond (Parkett 21)--woodcut, 1989, signed in pencil, numbered 34/100, framed. 11.5/8 x 18.1/8 in.
CHRISTIAN BOLTANSKI, El Caso (Parkett 22)--booklet with 17 photographs, 1989, signed in pencil, numbered 30/80. 2 x 3.1/8 in.
JEFF WALL, Boy on TV, from Eviction Struggle (Parkett 22)--cibachrome print, 1989, signed with initials and dated '90, on the reverse, numbered 30/80, framed. 13¾ x 14½ in.
RICHARD ARTSCHWAGER, Hair Box (Parkett 23)--enamel on rubberized hair and wood, 1990, signed in ink on the label on the base, numbered 8/100. 10 x 15 x 5 in.
ALIGHIERO E. BOETTI, Probing the Mysteries of a Double Life (Parkett 24)--collotype with hand-coloring in red, 1990, signed in pencil, numbered 31/100, framed. 19.3/8 x 27½ in.
KATHARINA FRITSCH, Mill/Ambulance/Toads (Parkett 25)--set of three single records, 1990, from the edition of 2000. Diameter: 7 in.
JAMES TURRELL, Squat, Juke, Carn, Alta (Parkett 25)--the set of four aquatints, 1990, signed, titled and dated in pencil, numbered 31/40. 10 x 8¾ in. each
PHILIP TAAFFE, Lineament Monotypes for Parkett (Parkett 26)--monotype, 1990, signed and dated in pencil, from the edition of 55, framed. 19½ x 15¾ in.
GUNTHER FORG, Four Bronze Reliefs (Nos. 1-4) (Parkett 26)--four bronze reliefs, 1990, incised with the artist's stamp, from the edition of 20. 10 x 8¼ x in. each
LOUISE BOURGEOIS, Reparation (Parkett 27)--fabrication of paper and sewn thread, 1991, signed in pencil, numbered 27/75, bound in the magazine. 10 x 8¼ in.
ROBERT GOBER, Untitled (Parkett 27)--double-sided lithograph on newsprint, folded (as issued), 1991, signed and dated in pencil, numbered 26/75, framed. 22 x 13 in.
FRANZ GERTSCH, Cima del Mar (Detail) (Parkett 28)--woodcut, folded (as issued), 1990/1, signed in pencil on the reverse, numbered 23/80, framed. 10 x 16.3/8 in.
THOMAS RUFF, C-Prints (Parkett 28)--two cibachrome prints, 1991, signed and dated in pencil on one, numbered 17/50, framed together back to back. 19 x 19 in.
JOHN BALDESSARI, Six Colorful Expressions (Frozen) (Parkett 29)--porcelain enamel steel plate, 1991, signed in ink on a label affixed to the reverse, numbered 62/75. 10 x 4 in.
CINDY SHERMAN, Untitled (Parkett 29)--printed silk, padded in gilded wooden frame, 1991, signed in ink on a label on the reverse, numbered 21/100. 8½ x 6½ in.
SIGMAR POLKE, The Pope ordered the bacon cutlery in Spiez too late (Parkett 30)--computer reproduction on vinyl, 1980/91, signed in ink on a label affixed to the stretcher, numbered 21/100. 19 x 15¾ in.
DAVID HAMMONS, Money Tree (Parkett 31)--sepia-print photograph, 1992, signed and dated in ink on the reverse, numbered 18/70, framed. 16½ x 11 in.
MIKE KELLEY, Goethe Quote (Parkett 31)--black and white photograph with screenprinted mat in black wooden frame, 1992, signed in ink on a label at the reverse, numbered 21/60. 25 x 17 in.
IMI KNOEBEL, Cementi (Parkett 32)--concrete and ferric oxide, 1992, with the moulded signature on the reverse, numbered 28/100. 9½ x 4 x 3 in.
SHERRIE LEVINE, 2 Shoes (Parkett 32)--pair of brown leather shoes, 1992, stamped with the artist's stamp on the base, stamp-numbered 20/99. 6½ x 2½ x 2½ in.
CHRISTOPHER WOOL, Untitled (Parkett 33)--black and white photograph, 1992, signed and dated in pencil on the reverse, numbered 41/70, framed. 10 x 8 in.
ILYA KABAKOV, Citation (Parkett 34)--screenprint and plastic fly in wooden frame, 1992, signed in pencil, numbered 27/50. 13 x 9½ x 1in. RICHARD PRINCE, Good Revolution (Parkett 34)--presentation gold record with engraved plaque mounted on C-Print, including a double-sided vinyl record arranged and performed by the artist, 1992, with the painted signature, numbered 18/80, framed. 20 x 16½ in.
GERHARD RICHTER, Green-Blue-Red (Parkett 35)--oil on canvas 1993, signed '789-96 Richter, 93' on the reverse, from the edition of 115 original paintings. 11.7/8 x 15¾ in.
STEPHEN BALKENHOL, Two Lizards and a Man (Parkett 36)--three cast lead figurines, 1993, all incised with initials on the reverse, numbered 15/85. each approx: 12¾ in.
SOPHIE CALLE, The Tie (Parkett 36)--pure silk crepe-de-chine man's tie, printed with an autobiographical story, 1993, signed in ink on the label stitched to the reverse, from the edition of 150. Length: 56 in. FRANZ WEST, Pouch for Parkett (Parkett 37)--printed African fabric, 1993, signed on a material label stitched to the back, numbered 51/180. 10½ x 9½ in.
CHARLES RAY, The Most Beautiful Woman in the World (Parkett 37)--nine unique color snapshots, 1993, signed in ink on a label on the reverse of the frame, numbered '53' of 60, framed. 8½ x 50 in.
MARLENE DUMAS, The Black Man, The Jew, And The Girl (Parkett 38)--triptych: woodblock and two transfer lithgraphs, each titled in pencil, the last signed and dated in pencil, numbered 19/60. 10 x 24½ in.
ROSS BLECKNER, Untitled (Parkett 38)--unique watercolor, inks and wax with hand-colored frame, 1993, signed in pencil, numbered 74/100. 11 x 9 in.
FELIX GONZALEZ-TORRES, Untitled (For Parkett) (Parkett 39)--screenprinted billboard, 1994, signed with initials in ink on one of the sheets, numbered 28/84 on a label affixed to the box. Overall: 125 x 272 in.
WOLFGANG LAIB, A Wax Room for a Mountain (Parkett 39)--screenprint and oilstick, 1994, signed, titled and dated in pencil, numbered 30/75, framed. 19½ x 16.1/8 in.
LAWRENCE WEINER, Under the Lime Trees (Parkett 42)--ink stamp with red ink pad and screenprinted cardboard box, 1994, signed with initials and dated on a label affixed to the inside of the box, numbered 30/80. 9 x 10 x 4 in.
RACHEL WHITEREAD, Switch (Parkett 42)--plaster and brass object, 1994, incised 'Edition for Parkett RW 1994 30/60' on the reverse. 3½ x 3½ x 1 in.
SUSAN ROTHENBERG, Bear Skin Rug (Parkett 43)--synthetic latex, 1995, moulded 'Edition for Parkett SR 1995' on the underside, from the edition of 70. 12¼ x 12¼ x 2 in.
JUAN MUNOZ, AugenBlick (Glimpse) (Parkett 43)--etched glass, the image momentarily visible by breathing on the glass, with wooden stand, 1995, incised with the signature and dated, numbered 8/70. Height: 4in.
From their earliest appearance in medieval Europe, prints have been used as a means to inform and educate, to record and distribute an artist's ideas to a larger public beyond the collectors of great means and the major institutions. From the late Nineteenth Century on, art journals have from time to time followed this lead and have included original prints and works of art. Henri de Toulouse-Lautrec, for example, contributed to many publications including Pan for which he produced Mlle Marcelle Lender en buste in 1895. This journal, published in an edition of over 1200, enabled the artist to reach a new and interested audience, unable to travel to see his paintings in Paris.
Over the course of the past century other journals have included original prints and photographs and have widened their embrace to include artist's books and catalogues and on occasion multiple objects. Since 1983, the editions at Parkett in Zurich have dedicated themselves to the production of their journal and accompanying multiples. Following the example of Marcel Duchamp, that most influential of conceptual artists whose miniature museum the Boite-en-valise first appeared in 1939, Parkett have produced their 'Musée en appartement'. Published thrice yearly, the publications each include a multiple object by a major or emerging contemporary artist. By expanding beyond the inclusion of only prints they have embraced a wider circle of artists that would otherwise be possible.
The present lot contains a collection of prints, paintings, multiple sculptures, conceptual objects and photographs from the first ten years of Parkett. The application of the artists' skills and the fruits of their close collaboration with the editors at Parkett produced a series of ingenious and fascinating objects which together provide a summation of the most vital and exciting aspects of contemporary art.
The niche which Parkett has carved out for itself goes beyond that of the conventional journal. Parkett presents objects and articles which educate and inform, working back to the medieval woodcut artists and looking forward to expand our understanding of the artistic object.
ENZO CUCCHI, Elegy and Etching (Parkett 1)--aquatint and drypoint, 1983, signed in pencil, numbered 9/80, bound in the magazine. 10 x 16½ in.
SIGMAR POLKE, Disasters and other Bear Wonders (Parkett 2)--unique photograph, 1982-4, signed and dated in ink on the reverse, the edition was 60, framed. 11 x 15 in.
MARTIN DISLER, In the Erotic Space of a Head (Parkett 3)--drypoint, aquatint, open bite and sugar lift, 1984, signed and dated in pencil, numbered 14/50, bound in the magazine. 10 x 8¼ in.
MERET OPPENHEIM, Glove (Parkett 4)--screenprinted and hand-stitched goat suede gloves, 1985, presumably signed, with the magazine, the gloves framed. 12½ x 16½ in.
ERIC FISCHL, Squatter (Parkett 5)--aquatint and sugar lift, 1983, signed in pencil, numbered 71/100, bound in the magazine. 10 x 8¼in. JANNIS KOUNELLIS, Untitled (Parkett 6)--photo-etching, aquatint and scraping, 1985, signed in pencil, numbered 11/80, bound in the magazine. 10 x 8¼ in.
BRICE MARDEN, Etching for Parkett (Parkett 7)--sugar lift and aquatint, 1986, signed in pencil, numbered 92/100, bound in the magazine. 10 x 8¼ in.
MARKUS RAETZ, Untitled (Parkett 8)--aquatint and sugar lift, 1986, signed with initials in pencil, numbered 31/40, bound in the magazine. 10 x 16½ in.
FRANCESCO CLEMENTE, Reconciliation (Parkett 9)--drypoint and etching, 1986, signed in pencil, numbered 72/100, bound in the magazine. 10 x 16½ in.
BRUCE NAUMAN, Violent Incident--Man-Woman Segment (Parkett 10)--30 minute videotape in colors with sound, 1986, signed in ink on the video label, numbered 180/200. 10 x 7 in.
GEORGE BASELITZ, Face and Teardrop (Parkett 11)--drypoint, etching and stencil, 1986, signed in pencil, numbered 47/100, bound in the magazine. 9 x 5 in.
ANDY WARHOL, Photo Etching for Parkett (Parkett 12)--machine sewn photo-etchings, 1987, signed in pencil on the reverse, from the edition of 120, with the magazine, the photo-etching framed. 7 x 9½ in.
REBECCA HORN, The Double (Parkett 13)--silver-plated brass hammer, 1987, with the incised initials, numbered '92' of 99. Length: 10 in.
GILBERT & GEORGE, Untitled (Parkett 14)--photograph, mounted on cardboard, 1987, signed in silver pen, numbered 151/200. 10 x 16½in. MARIO MERZ, Untitled (Parkett 15)--etching, sugar lift, drypoint, aquatint, 1988, signed in pencil, numbered 88/100. 8 x 10 in.
ROBERT WILSON, A Letter for Queen Victoria (Parkett 16)--lithograph, 1988, signed, titled and dated in pencil, numbered 41/80, bound in the magazine. 10 x 24 in.
PETER FISCHLI/DAVID WEISS, Record (Parkett 17)--the record, 1988, signed by both artists in white ink, numbered 88/120. Diameter: 11in.
ED RUSCHA, Hell ½ Way Heaven (Parkett 18)--lithograph, 1988, signed and dated in pencil, numbered 43/100, bound in the magazine. 10 x 24 in.
JEFF KOONS, Signature Plate (Parkett 19)--porcelain plate, 1989, numbered 74/80. Diameter: 10¼ in.
MARTIN KIPPENBERGER, 80 Unique Books 'Beim Disco-Friseur', (Parkett 19)--the unique book of 259 offset prints, 1989, signed and dated in pencil, from the edition of 80, with the magazine. 6 x 3¾ in.
TIM ROLLINS + K.O.S, South Bronx (Parkett 20)--offset lithograph, 1989, signed, titled and dated in pencil on the reverse, numbered 68/80, framed. 12 x 9in.
ALEX KATZ, Black Pond (Parkett 21)--woodcut, 1989, signed in pencil, numbered 34/100, framed. 11.5/8 x 18.1/8 in.
CHRISTIAN BOLTANSKI, El Caso (Parkett 22)--booklet with 17 photographs, 1989, signed in pencil, numbered 30/80. 2 x 3.1/8 in.
JEFF WALL, Boy on TV, from Eviction Struggle (Parkett 22)--cibachrome print, 1989, signed with initials and dated '90, on the reverse, numbered 30/80, framed. 13¾ x 14½ in.
RICHARD ARTSCHWAGER, Hair Box (Parkett 23)--enamel on rubberized hair and wood, 1990, signed in ink on the label on the base, numbered 8/100. 10 x 15 x 5 in.
ALIGHIERO E. BOETTI, Probing the Mysteries of a Double Life (Parkett 24)--collotype with hand-coloring in red, 1990, signed in pencil, numbered 31/100, framed. 19.3/8 x 27½ in.
KATHARINA FRITSCH, Mill/Ambulance/Toads (Parkett 25)--set of three single records, 1990, from the edition of 2000. Diameter: 7 in.
JAMES TURRELL, Squat, Juke, Carn, Alta (Parkett 25)--the set of four aquatints, 1990, signed, titled and dated in pencil, numbered 31/40. 10 x 8¾ in. each
PHILIP TAAFFE, Lineament Monotypes for Parkett (Parkett 26)--monotype, 1990, signed and dated in pencil, from the edition of 55, framed. 19½ x 15¾ in.
GUNTHER FORG, Four Bronze Reliefs (Nos. 1-4) (Parkett 26)--four bronze reliefs, 1990, incised with the artist's stamp, from the edition of 20. 10 x 8¼ x in. each
LOUISE BOURGEOIS, Reparation (Parkett 27)--fabrication of paper and sewn thread, 1991, signed in pencil, numbered 27/75, bound in the magazine. 10 x 8¼ in.
ROBERT GOBER, Untitled (Parkett 27)--double-sided lithograph on newsprint, folded (as issued), 1991, signed and dated in pencil, numbered 26/75, framed. 22 x 13 in.
FRANZ GERTSCH, Cima del Mar (Detail) (Parkett 28)--woodcut, folded (as issued), 1990/1, signed in pencil on the reverse, numbered 23/80, framed. 10 x 16.3/8 in.
THOMAS RUFF, C-Prints (Parkett 28)--two cibachrome prints, 1991, signed and dated in pencil on one, numbered 17/50, framed together back to back. 19 x 19 in.
JOHN BALDESSARI, Six Colorful Expressions (Frozen) (Parkett 29)--porcelain enamel steel plate, 1991, signed in ink on a label affixed to the reverse, numbered 62/75. 10 x 4 in.
CINDY SHERMAN, Untitled (Parkett 29)--printed silk, padded in gilded wooden frame, 1991, signed in ink on a label on the reverse, numbered 21/100. 8½ x 6½ in.
SIGMAR POLKE, The Pope ordered the bacon cutlery in Spiez too late (Parkett 30)--computer reproduction on vinyl, 1980/91, signed in ink on a label affixed to the stretcher, numbered 21/100. 19 x 15¾ in.
DAVID HAMMONS, Money Tree (Parkett 31)--sepia-print photograph, 1992, signed and dated in ink on the reverse, numbered 18/70, framed. 16½ x 11 in.
MIKE KELLEY, Goethe Quote (Parkett 31)--black and white photograph with screenprinted mat in black wooden frame, 1992, signed in ink on a label at the reverse, numbered 21/60. 25 x 17 in.
IMI KNOEBEL, Cementi (Parkett 32)--concrete and ferric oxide, 1992, with the moulded signature on the reverse, numbered 28/100. 9½ x 4 x 3 in.
SHERRIE LEVINE, 2 Shoes (Parkett 32)--pair of brown leather shoes, 1992, stamped with the artist's stamp on the base, stamp-numbered 20/99. 6½ x 2½ x 2½ in.
CHRISTOPHER WOOL, Untitled (Parkett 33)--black and white photograph, 1992, signed and dated in pencil on the reverse, numbered 41/70, framed. 10 x 8 in.
ILYA KABAKOV, Citation (Parkett 34)--screenprint and plastic fly in wooden frame, 1992, signed in pencil, numbered 27/50. 13 x 9½ x 1in. RICHARD PRINCE, Good Revolution (Parkett 34)--presentation gold record with engraved plaque mounted on C-Print, including a double-sided vinyl record arranged and performed by the artist, 1992, with the painted signature, numbered 18/80, framed. 20 x 16½ in.
GERHARD RICHTER, Green-Blue-Red (Parkett 35)--oil on canvas 1993, signed '789-96 Richter, 93' on the reverse, from the edition of 115 original paintings. 11.7/8 x 15¾ in.
STEPHEN BALKENHOL, Two Lizards and a Man (Parkett 36)--three cast lead figurines, 1993, all incised with initials on the reverse, numbered 15/85. each approx: 12¾ in.
SOPHIE CALLE, The Tie (Parkett 36)--pure silk crepe-de-chine man's tie, printed with an autobiographical story, 1993, signed in ink on the label stitched to the reverse, from the edition of 150. Length: 56 in. FRANZ WEST, Pouch for Parkett (Parkett 37)--printed African fabric, 1993, signed on a material label stitched to the back, numbered 51/180. 10½ x 9½ in.
CHARLES RAY, The Most Beautiful Woman in the World (Parkett 37)--nine unique color snapshots, 1993, signed in ink on a label on the reverse of the frame, numbered '53' of 60, framed. 8½ x 50 in.
MARLENE DUMAS, The Black Man, The Jew, And The Girl (Parkett 38)--triptych: woodblock and two transfer lithgraphs, each titled in pencil, the last signed and dated in pencil, numbered 19/60. 10 x 24½ in.
ROSS BLECKNER, Untitled (Parkett 38)--unique watercolor, inks and wax with hand-colored frame, 1993, signed in pencil, numbered 74/100. 11 x 9 in.
FELIX GONZALEZ-TORRES, Untitled (For Parkett) (Parkett 39)--screenprinted billboard, 1994, signed with initials in ink on one of the sheets, numbered 28/84 on a label affixed to the box. Overall: 125 x 272 in.
WOLFGANG LAIB, A Wax Room for a Mountain (Parkett 39)--screenprint and oilstick, 1994, signed, titled and dated in pencil, numbered 30/75, framed. 19½ x 16.1/8 in.
LAWRENCE WEINER, Under the Lime Trees (Parkett 42)--ink stamp with red ink pad and screenprinted cardboard box, 1994, signed with initials and dated on a label affixed to the inside of the box, numbered 30/80. 9 x 10 x 4 in.
RACHEL WHITEREAD, Switch (Parkett 42)--plaster and brass object, 1994, incised 'Edition for Parkett RW 1994 30/60' on the reverse. 3½ x 3½ x 1 in.
SUSAN ROTHENBERG, Bear Skin Rug (Parkett 43)--synthetic latex, 1995, moulded 'Edition for Parkett SR 1995' on the underside, from the edition of 70. 12¼ x 12¼ x 2 in.
JUAN MUNOZ, AugenBlick (Glimpse) (Parkett 43)--etched glass, the image momentarily visible by breathing on the glass, with wooden stand, 1995, incised with the signature and dated, numbered 8/70. Height: 4in.
From their earliest appearance in medieval Europe, prints have been used as a means to inform and educate, to record and distribute an artist's ideas to a larger public beyond the collectors of great means and the major institutions. From the late Nineteenth Century on, art journals have from time to time followed this lead and have included original prints and works of art. Henri de Toulouse-Lautrec, for example, contributed to many publications including Pan for which he produced Mlle Marcelle Lender en buste in 1895. This journal, published in an edition of over 1200, enabled the artist to reach a new and interested audience, unable to travel to see his paintings in Paris.
Over the course of the past century other journals have included original prints and photographs and have widened their embrace to include artist's books and catalogues and on occasion multiple objects. Since 1983, the editions at Parkett in Zurich have dedicated themselves to the production of their journal and accompanying multiples. Following the example of Marcel Duchamp, that most influential of conceptual artists whose miniature museum the Boite-en-valise first appeared in 1939, Parkett have produced their 'Musée en appartement'. Published thrice yearly, the publications each include a multiple object by a major or emerging contemporary artist. By expanding beyond the inclusion of only prints they have embraced a wider circle of artists that would otherwise be possible.
The present lot contains a collection of prints, paintings, multiple sculptures, conceptual objects and photographs from the first ten years of Parkett. The application of the artists' skills and the fruits of their close collaboration with the editors at Parkett produced a series of ingenious and fascinating objects which together provide a summation of the most vital and exciting aspects of contemporary art.
The niche which Parkett has carved out for itself goes beyond that of the conventional journal. Parkett presents objects and articles which educate and inform, working back to the medieval woodcut artists and looking forward to expand our understanding of the artistic object.