Francis Alÿs’s photograph of a walk with his edition for Parkett 69 in Mexico City. Courtesy Luma Living Archives, Arles
“After three days people started talking about the crazy gringo walking around with his magnetized dog, but after seven days, the story, the anecdote, had remained even though the characters were gone. That’s how I started developing the idea of introducing tales and fables into a place’s history at a particular moment of its local history.”
“In the early seventies... I lived in Berkeley and taught in the area.... I used to stop at a thrift shop on my way home. One day I went in and saw a carton of seventy-five pairs of little black shoes for fifty cents a piece. It was an offer I couldn’t refuse.... And when I moved to New York in 1975, I had nothing but a suitcase and this carton of shoes.”
Rhoades’s edition for Parkett 58 includes a hand-painted gourd with seeds, a backpack, eleven photographs, and one cylindrical cardboard container that serves as both the gourd’s storage box and its display pedestal.
The gourds were grown in Rhoades’s parents’ garden, and some of the photographs—which are tucked into each backpack—show his parents hand-painting them.
An image from Charles Ray’s Parkett edition. Notably, no two sets of photographs are alike as each edition is comprised of nine distinct images Ray captured. Courtesy Parkett Publishers, Zurich/NY, and the artist
Ray describes and draws his suggested layout for the cover of Parkett 37. Courtesy Luma Living Archives, Arles; Ray’s cover for the issue, featuring supermodel Tatjana Patitz, who also appears in the unique photographs of Ray’s edition The Most Beautiful Woman in the World, 1993. Courtesy Parkett Publishers, Zurich/NY and Luma Living Archives, Arles
Each work in Ray’s edition consists of a specific grouping of nine unique snapshots of German supermodel Tatjana Patitz, who also appeared on his cover for Parkett 37.
Ray designed the cover using the tropes of the fashion magazine, recalling the glossy, highly stylized photographs of the era. His edition features intimate snapshots of Patitz, showing her seemingly without professional styling as she lounges at home, subverting the standards of beauty and glamour of the time.
Detail of Infinity Nets, 2000
Kusama’s edition brings together two of the artist’s central motifs: Infinity Nets and mirrors.
The silkscreen on mirror, created for Parkett 59 and designed to be similar in dimensions to a Parkett volume, combines Kusama’s celebrated motifs and materiality in work that is uniquely domestic in scale.
In 1985, Oppenheim collaborated with Parkett on a limited-edition pair of gloves, realizing a design she had first conceived in 1936 while working as a designer for Elsa Schiaparelli, the haute couture designer known for her playful surrealist garments.
The sky-blue goat-suede gloves feature red veins in both hand-stitched embroidery and silkscreen, metaphorically turning the hands of the wearer inside out.
A letter from Marlene Dumas to Parkett, printed in no. 100/101. She poetically reflects on her art, her life, and her connection to the publication. Courtesy Luma Living Archives, Arles
One of the last works Warhol ever made, his edition for Parkett was completed and signed just a few days before his untimely death in 1987.
The skeletons relate to the artist’s repeated motif of skulls, which figure prominently in a body of work begun in 1976 and function as a darkly humorous memento mori.