"This exhibition of 1930s photographs by Wols will be the first presentation of this material in the United States. The German-French artist Wols, short for Wolfgang Schulze (1913-1951), rose to fame in the post-1945 European art scene as the founder of Informel painting. Previous European curators and scholars have thus presented Wols' photographs of the 1930s as anticipations of or studies for the later paintings. By contrast, this exhibition and the accompanying catalogue will, for the first time, present the photographs as an independent, coherent body of work that resonates rather with European photographic practices in the twenties and thirties. Wols' photographs combine Bauhaus material studies and surrealist defamiliarizations of objects. Their central fascinating characteristic is the peculiar entwinement of an inspecting but at the same time alienated gaze, of a curious and repulsed attitude towards the world. Approximately thirty photographs will be lent from The Getty Museum for the exhibition, which will be supplemented by loans from European institutions and the artist's family"--Publisher's website.

The literary work of enigmatic German painter and photographer Wols, who died in exile in Paris in 1951, consists of aphorisms. Written in French on tiny pieces of paper he always carried with him in a small travel bag, they bear witness to the disillusioning experiences made in detention camps, during the war, and in post-war times. Almost 60 years after Wols' death, this is the first complete edition of his aphorisms.

An encounter across time and space between Wols, a pioneering artist of the early twentieth century, and Eileen Quinlan, a contempory American artist. Wols (1913–1951) was celebrated posthumously as one of the pioneering artists of the Art Informel movement. His distinctive early photographic work of the 1930s is, however, very little known. In an unusual connection across time and space his work is discussed in relation to that of contemporary American artist Eileen Quinlan (b. 1972). This book, a companion to the exhibition Always Starts with an Encounter: Wols–Eileen Quinlan, curated by Helena Papadopoulos and organized by Radio Athènes at the Museum of Cycladic Art, Athens, in 2016, further explores the relationship between the work of the two artists. Spectral and suggestive, but also precise and factual, through an indexical structure, a variety of textual forms and inflections, different registers of images and textures, this richly illustrated book reflects on a circular idea of time as it wanders in the abstruse physicality of the photographic. It includes texts by Olivier Berggruen, Quinn Latimer, Helena Papadopoulos, and Laura Preston, as well as two interviews with Eileen Quinlan. Copublished with Radio Athènes