{"title":"Josephine Pryde","description":"\u003cp\u003eJosephine Pryde (born 1967, Alnwick) is a British artist working primarily in photography and sculpture. Her practice examines the surfaces and social behaviours of image-making — particularly the conventions of photographic desire, commodity culture, and digital circulation. She has exhibited internationally, including solo presentations at Reena Spaulings Fine Art, New York, Tramway, Glasgow, and The Artist's Institute, New York, and has participated in major group exhibitions across Europe and North America. Her photographs frequently appear in and alongside artists' publications, where the relationship between image and object is as much her subject as the images themselves.\u003c\/p\u003e","products":[{"product_id":"lucy-mckenzie-alan-michael-unlawful-assembly-koenig-books-2013","title":"LUCY McKENZIE \u0026 ALAN MICHAEL, Unlawful Assembly, Koenig Books, 2013","description":"\u003cp\u003eISBN 978-3-86335-490-9\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eUnlawful Assembly\u003c\/em\u003e began as disposable literature. First published in a private edition for Fiorucci Art Trust's 2013 Stromboli programme, it was handed to visitors as holiday reading on the Mediterranean island the stories describe — cheap, site-specific, intended to be left behind. This copy is the book's second life: the Koenig Books trade edition, its original outside introduction replaced by a foreword the artists wrote themselves.\u003c\/p\u003e\n\u003cp\u003eLucy McKenzie and Alan Michael had shown together since meeting in 1995 at Duncan of Jordanstone College of Art and Design. Their 2009 Dundee exhibition \u003cem\u003eThe Associates\u003c\/em\u003e paired Michael's photorealist paintings with a McKenzie-built trompe l'oeil room interior, testing the overlap between illusionistic surface and constructed genre — a concern that runs directly into the writing here.\u003c\/p\u003e\n\u003cp\u003eThe book collects interrelated short stories set on Stromboli. McKenzie contributes a self-contained account of a murder on the island's volcano; Michael's trio of shorter pieces recycles sinister themes, phrases and characters across its narrative. Together they pursue what the foreword calls the “crafted effect” shared by systematic painting and genre fiction — the formal rules, seductions and manipulations common to both. The back-cover synopsis on this copy is drawn almost verbatim from that foreword, which TNR reads as the marketing text and the artists’ own prose becoming indistinguishable: apt for a book whose subject is exactly that kind of surface.\u003c\/p\u003e\n\u003cp\u003eThe cover photograph, by Josephine Pryde, carries its own exhibition history. The same image was shown as a standalone print — \u003cem\u003eUnlawful Assembly (Cover Art Print)\u003c\/em\u003e, 2013, pigmented inkjet — at The Artist’s Institute, New York, in 2013–14. The object in hand therefore doubles as documentation of a work that has also circulated independently on its own terms.\u003c\/p\u003e\n\u003chr\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Koenig Books","offers":[{"title":"Default Title","offer_id":54741679571282,"sku":"TNR-2026-0679","price":45.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0991\/5636\/1554\/files\/Mckenzie_Lucy.Michael_Alan.UnlawfulAssembly.2013.jpg?v=1789542089"}],"url":"https:\/\/thenewrare.com\/collections\/josephine-pryde.oembed","provider":"The New Rare","version":"1.0","type":"link"}