Prints by Jennifer Bornstein gathers together a body of work encompassing her latest projects in printmaking during a recent fellowship at the Radcliffe Institute for Advanced Study at Harvard University. These works are contextualized by earlier projects in drawing, film, and artist books that span the 1990s to the present.

Blake Rayne’s approach to painting stems from the duplicity of words like script, folder, application, and screen. These operative terms situate his work between forms of linguistic description and the history of reflexive material practices in art. He begins from an orientation that considers the terms painter and painting as fictions with no stable material definition. Rather, they are shaped by always-evolving social, institutional, and physical relations.

Fredrik Værslev’s work navigates between different painterly traditions, and demonstrates the possibilities and relevance of the medium today. Published in conjunction with Værselv’s exhibition “All Around Amateur,” this publication comes in two different versions, with each book comprising 320 one-to-one digital images scanned from eight of Værslev’s new “sunset” paintings.

Ull Hohn: Foregrounds, Distances aims not only to offer the first comprehensive overview of his work, but also to contribute to a history of painting-based practices, which occupy a marginal place in the established narratives of the art of the 1980s and 1990s

Birgit Megerle’s figurative and abstract paintings are characterized by an artificial, rigid, and stage-like atmosphere. The female characters featured in her works are poised with a determination and a readiness to act, and while based in a tradition of representational painting, they are eerily unreal and remote.