Certain Variables refers to the continuous cycle of change that affects our perception and experience of every building we encounter. Architectural structures appear to be relatively static, but we never experience them in the same way twice. Examples of Lambri's examination of these cycles of change are her photographs of a single skylight in Lautner's Sheats-Goldstein House. Taken over several months, these pictures poetically capture how her relationship to the space is in constant transformation.

War/Photography surveys both iconic and newly discovered photographs of war and conflict, from daguerreotypes documenting the Crimean and American Civil Wars to digital images made by soldiers in 21st-century Iraq. This ambitious book offers a comprehensive investigation of the relationship between photography and armed conflict.

In his paintings, Fujita blends a rich diversity of cultural influences that range from traditional Japanese ukiyo-e to contemporary manga; from American pop culture, to East L.A. street-life iconography and graffiti. Critic Christopher Knight describes Fujita’s paintings as “the most important 21st century iteration of graffiti’s influence on art.” This exhibition catalogue includes a foreword by Peter Goulds, founding director of L.A. Louver, and text by Scott Grieger, artist and professor at Otis College of Art and Design. L.A. Louver, 2011 9.25 x 11.25 inches, 68 pp. color illustrations Hardcover, ISBN 978-0984305117

Joel Shapiro is an American sculptor known for his dynamic work composed of simple rectangular shapes. This exhibition catalogue features images of Shapiro's work in a variety of indoor and outdoor installations. Denver Art Museum, 2000 11 x 8 1/2 inches, 64 pp. color illustrations Softcover, ISBN 0916677443

Since the 1960s, Robert Whitman has been using new technologies to make works of performance, sculpture, and installation. In Turning, published in conjunction with the gallery's recent exhibition, he explores the light and movement of planetary space. Whitman began by gathering video footage from NASA, which he then digitally manipulated and re-sequenced. The resulting film is projected internally onto the surface of three plastic hemispheres: Earth (2006), Europa (2006), and Ganymede (2006). These sculptural forms, suspended from the ceiling, measure between four and five feet in diameter. The full-color catalog includes an interview with Whitman by the artist and historian Coosje van Bruggen, in which he comments: ''Our generation is the first bunch of people that know the moon close-up. On the one hand that's kind of wonderful and on the other it adds another area of stuff we can't imagine–another diving board to jump off into the unknown.'' The Pace Gallery, 2007 9.5 x 10 inches, 96 pp., color illustrations and CD-ROM Softcover, ISBN 978-1930743786

The Archive Project honors and supports artists who have fought and those who continue to fight the battle against HIV/AIDS. As Nick Debs, ex-Executive Director of Visual AIDS, writes, ''We must document everything, including the kitchen sink. And we must remember the kitchen sink is beautiful.''

Constellation Congress documents a three-part exhibition of work by Koo Jeong A (b. 1967). For over twenty years, Koo Jeong A has been steadily and rigorously constructing a visual language of evocative riddles and playful environments that highlight the idiosyncrasies of the world around us. In the artist's work, nothing is ordinary; on the contrary, any object—be it a pile of charcoal, a piece of iron, or a puddle of water—is given dignity and reverence and incites the surprise of a first encounter.

Her presentation for Dia at The Hispanic Society will be the fourth in Dia’s multiyear series of projects by contemporary artists for the Society’s Beaux-Arts buildings, in Washington Heights. Occupying the Society’s East Building Gallery, Koo Jeong A’s installation will comprise new multimedia works that were commissioned by Dia. These will include architectural interventions loosely evoking feng shui principles and a dual-projection video installation. Additionally, Koo Jeong A created an olfactory artwork, Before the Rain (2010) in collaboration with perfumer Bruno Jovanovic, of International Flavors & Fragrances, Inc., that employed ingredients such as dry woods, minerals, fern, musk, tar, and lichens, among others. The publication includes a text by exhibition curator Yasmil Raymond and newly commissioned essays by art historian Molly Nesbit and Harvard University Professor of Astronomy Dimitar Sasselov, among others.

The founder of the Acadia Summer Arts Program, Marion Boulton Stroud, asked Robert Venturi, Denise Scott Brown and Steven Izenour to design and construct houses and other structures for the camp. The architects took as inspiration Maine's indigenous architecture, such as shingle houses and lobster shacks.

Judith Barry's Voice Off was awarded Best Pavillion at the 8th Cairo Biennale in 2001. Curated by Gary Sangster, director of the Contemporary Museum in Baltimore, the show staged how sound might be visualized. One side of the work was the women's side, with video images surrounded by sound; the other side was the men's side, which showed images of men listening. This catalog with its extensive essay by Sangster presents images from Voice Off as well as from Barry's many other video installations from the 1980s and 1990s. An interview between Barry and architect and designer Ken Saylor rounds out the catalog.

Searching for Emily by Lee Montgomery is a collaboration with artist Phung Huynh and was published by Nothing Moments Press in the fall of 2007. This book is a story about a female artist’s hyper amnesic memory disorder. It’s a swirling story of confusion, stress and hopefulness.

This book of poems and stark, vivid illustrations is rooted in the female soul of indigenous Mexico. The Tzotzil women of the Chiapas Highlands are the poets and the artists. Ambar Past, who collected the poems and drawings, includes a moving essay about their poetics, beliefs, and history. Cinco Puntos Press, 2009 8.5 x 8.7 inches, 230 pp., illustrations Softcover, ISBN 978-1933693095

Over the last decade, equal rights for same-sex couples has proven to be one of this country's most pressing political and civil rights issues. \"The Air We Breathe\" takes its title from a Langston Hughes poem and brings together 27 visual artists and seven poets who offer eloquent and challenging contributions to the cause of marriage equality for same-sex couples. Works on paper by Laylah Ali, D-L Alvarez, Simon Fujiwara, Robert Gober, Raymond Pettibon, Amy Sillman, Allison Smith and 20 other equally compelling contemporary artists are interspersed with new poetry by John Ashbery, Kevin Killian, Ariana Reines, Anne Waldman and others. With essays by three further prominent, outspoken writers–Eileen Myles, Martha Nussbaum and Frank Rich–the book and the exhibition it accompanies generate awareness and dialog about the discrimination many citizens encounter on a daily basis because. Its message is aptly expressed in Hughes's words: ''equality is in the air we breathe.'' San Francisco Museum of Modern Art, 2011 9.5 x 11 inches, 172 pp., color illustrations Hardcover, ISBN 9780918471864

From tribes to chains; from community to cargo; from farms to ships to plantations; from South to North; from slavery to freedom - the migration routes of black people from Africa to America form the subject of Betye Saar's series, Migrations/Transformations, exhibited by Michael Rosenfeld Gallery in 2006. In seventeen mixed media collages and assemblages, Saar narrates seventeen distinctive journeys. By layering carefully selected clues - a gold button, an African mask, a slave ship diagram, a weathered photograph, a pressed leaf, a tattered American flag - she constructs fictional biographies of nameless characters that represent the historical passages of millions. Haunted by memories of Africa or the trauma of the Middle Passage, Saar's journeys remind us that history is not simply the recording of past events - it is a living, breathing entity, filling the space of our present and shaping contemporary identities. Born in Los Angeles in 1926, Saar is known for voicing her political, racial, religious, and gender concerns in an effort to reach across the barriers of art and life, to bridge cultural diversities, and forge new understandings. This fully illustrated color catalogue with an artist statement and essays by Whitfield Lovell, Tracye Saar-Cavanaugh, Lowery Stokes Sims, and Sean Ulmer accompanied the exhibition

This is the seventh annual exhibition in an ongoing series which explores and celebrates the vast accomplishments of twentieth-century African-American artists. African-American Art: 20th Century Masterworks, VI presents rare museum caliber works, many recently discovered and never before exhibited. Historically, in the United States, African-American artists have encountered a society which relegated them to its periphery, but the tide has begun to change. In recent years, there has been a remarkable surge of exhibitions, publications, and articles which have dramatically increased exposure and with this exposure has come the possibility for long overdue recognition. Presenting more than forty historic works by more than thirty artists, this exhibition aspires to continue the trend toward increasing education, awareness, and much-deserved appreciation. Artists included in this exhibition: Charles Alston, Benny Andrews, William Artis, Romare Bearden, John Biggers, Eldzier Cortor, Ernest Crichlow, Beauford Delaney, Joseph Delaney, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Archibald J. Motley, Jr., Marion Perkins, Horace Pippin, Betye Saar, Augusta Savage, Charles Sebree, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Bill Traylor, James VanDerZee, Laura Wheeler Waring, Charles White, and Hale Woodruff. Michael Rosenfeld Gallery, 2002 Softcover, 64 pgs No ISBN

In 1989, A.R.T. Press began documenting the social world of contemporary art by asking artists to interview one another.

Between Artists presents twelve lively pairings, including Kim Abeles interviewed by Michael McMillen, Vija Celmins interviewed by Chuck Close, Jimmy DeSana interviewed by Laurie Simmons, Judy Fiskin interviewed by John Divola, Felix Gonzalez-Torres interviewed by Tim Rollins, Mike Kelley interviewed by John Miller, Allan McCollum interviewed by Thomas Lawson, Anne Scott Plummer interviewed by Viola Frey, David Reed interviewed by Stephen Ellis, Laurie Simmons interviewed by Sarah Charlesworth, Pat Sparkuhl interviewed by Kim Abeles, and Andrew Spence interviewed by Colin Thomson. The publication offers rare insight into the issues that inform the work of contemporary artists in their own words.

In Residence chronicles the history and legacy of the Artist-in-Residence Program at Dartmouth College, which began in 1931 when the Guatemalan painter Carlos Sánchez, Class of 1923, was invited back to campus on a yearlong fellowship. The publication showcases the work of more than eighty artists who have participated in this international program since that time, including Charles Burwell, Walker Evans, Louise Fishman, Donald Judd, Magdalene Odundo, José Clemente Orozco, Robert Rauschenberg, Alison Saar, Paul Sample, and Frank Stella. Hood Museum of Art, 2014 9 x 12.2 inches, 156 pp., color illustrations Softcover, ISBN 978-0944722466

Published to coincide with Archive of Modern Conflict’s contribution to the exhibition Conflict, Time, Photography at Tate Modern, London, AMC2 Issue 11: A Guide for the Protection of the Public in Peacetime presents the landscapes of war as viewed by those co-opted, blighted, disrupted, demented, excited, uplifted, corrupted, dumbfounded and unbalanced by its process. Photographers include household names as well as many of the unremembered people whose captured moments carry us to the zone of discord.

Ballerina in a Whirlpool is a catalog of an exhibition featuring Isa Genzken, Richard Jackson, Roman Signer and Diana Thater. Despite the exhibited artists' various American or European backgrounds, their varied media and lines of inquiry, their disparate works share one formal motif–the circle, circular pattern, or rotating movement. Whether this movement is real or implied, possible, inherent in the work, or performed by the viewer in space, it brings together this fascinating group of installation works for closer examination.

Catalogue published on the occasion of the exhibition “Portraits / Self-Portraits from the 16th to the 21st Century,” presented at Sperone Westwater, New York, 12 January – 25 February 2012.

The breadth of the works in Portraits/Self-Portraits demonstrates that portraiture has been an on-going and reoccurring theme in art history, especially in Western culture, for centuries. The earliest portraits were created to illustrate physical or material attributes of the sitter, which historically included nobility, family, friends, lovers, and the self. According to Angus Trumble, Senior Curator of Paintings and Sculpture at the Yale Center for British Art – who has written the essay for the Portraits/Self-Portraits catalogue – in the seventeenth century, the focus of portraiture shifted to capturing the character or essence of the person. Since the Renaissance, there has been a dichotomy between what portraits – many of which were commissioned – represent or elucidate versus the “likeness” of the sitter. Portraits can depict a person’s wealth, power, piety, occupation, time period, cultural and personal interests, as well as emotional states.

Navigating Ghosts by Annie Buckley is a collaboration with artist Joe Biel and was published by Nothing Moments Press in the fall of 2007. This book is a collection of stories of life and experiences in Los Angeles, the adjustments, the encounters and the love.

Annie Buckley is an artist, writer, and curator with an emphasis on art and social justice. Annie is the author of more than 200 published essays and reviews on contemporary art and culture and is a contributing editor to the Los Angeles Review of Books, where she writes the series, “Art Inside” exploring her work in Arts in Corrections.

Tantra Song is a collection of rare Tantric paintings made anonymously by adepts in Rajasthan and used to awaken heightened states of consciousness. The paintings’ magnetic, vibratory beauty—as well as their deep affinity with 20th century abstract art—inspires acute attention and contemplation. The paintings are the progeny of hand-written, illustrated religious treatises from the 17th century which have been copied over multiple generations. Like musicians playing ragas of classical Indian music, adepts paint in a concentrated state of mental rapture, repeating and subtly reinterpreting melodic structures of line and color. When complete, the paintings—made in tempera, gouache, and watercolor on salvaged paper—are pinned to the wall to use in private meditation. Having spent more than two decades in conversation with the private communities of Rajasthani tantrikas, Jamme—like other poet-ethnographers Michaux, Leiris, and Bataille before him—draws on an unconventional body of knowledge. His accompanying texts further open readers to the paintings’ subtle magic. Siglio Press, 2011 8.5 x 11.5 inches, 112 pp., color illustrations Hardcover, ISBN 978-0979956270

This artist's book, with color illustrations and accompanying text by associate curator Annetta Massie, is the first publication focused on this intriguing artist. Krisanamis, a Thai artist who has lived in the United States since 1991, taught himself English by reading the newspaper and marking out all the words he knew. This created a patterned page that became the substructure for his painting and collage combinations. In later works, traditional art materials share pictorial space with tactile ready-mades including cast-off papers, tea, and noodles on blankets, sheets, towels, and other unexpected backings.

Drawn from the private collection of filmmaker Martin Brest, this exhibition of 19 enigmatic works by Enrique Martínez Celaya reveals the artist's complex cross-disciplinary approach to art-making.

Exhibition catalog from a 2008 exhibition at McKee Gallery of the work of Jeanne Silverthorne, with an essay by Raphael Rubinstein. McKee Gallery, 2008 44 pp., color illustrations Softcover, No ISBN

Kim Abeles' assemblage work engages history, memory, truth and the natural world. In this interview, Abeles discusses her wide-ranging interests, from primitive technologies to the Dead Sea Scrolls to Calamity Jane and memorabilia. Interviewed by Michael McMillen. A.R.T. Press, 1988 32 pp., illustrations ISBN 0-923183-01-9

This book presents a selection of snapshots, and accompanying inscriptions, sent by Felix Gonzalez-Torres to Doug Ashford, Julie Ault, Bill Bartman, Susan Cahan, Amada Cruz, David Deitcher, Suzanne Ghez, Ann Goldstein, Claudio González, Jim Hodges, Susan Morgan, Robert Nickas, Mario Nuñez, and Christopher Williams between the years 1991-1995. The snapshots are quick poetic communiqués, a visual report on Felix's outlook at particular moments in time, small gestures of hope, pleasure, and desire. They give evidence to some of his multiple fascinations: pets, furniture, collectible dolls, politics, art, friendship, beauty, love and optimism. A.R.T. Press, 2010 8.5 x 6.5 inches, 160 pp., color images Hardcover, ISBN 0-923183-26-4

In the first publication from Printed Matter's Publishing Program for Emerging Artists, Erin Cosgrove takes the romance novel for a ride through revolutionary terrain to produce a tempestuous tale of terrorism and true love. In the cloistered environment of an exclusive East Coast college, the young and the restless fall in love while romancing the ghosts of the Baader-Meinhof gang active in 1970s Germany. It’s a hilarious send up of the romance genre complete with earnest interjections from the author who supplies historical cliff notes and commentary for the confused. A page-turning tour de force of the dangerous passions and politics of the privileged.

This catalog records a three-part survey show by the Michael Rosenfeld Gallery, featuring leading and lesser-known figures of Abstract Expressionism.

The Art of Betty Woodman presents a retrospective of the artist's work. Woodman began working with clay. The vase was her earliest subject, and over time, has become her most salient. For Woodman, the vase can be a vessel, a metaphor, or an art-historical reference. Her work alludes to numerous sources, including Minoan and Egyptian art, Greek and Etruscan sculpture, Tang Dynasty works, majolica and porcelain, Italian Baroque architecture, and the paintings of Picasso and Matisse. Metropolitan Museum of Art, 2006 Unpaginated, illustrations

Carroll Dunham (b. 1949, New Haven, CT) has eschewed the conventions of abstract and figurative painting, establishing a trademark style and vast body of work that are both deeply original and enormously influential. His early works, painted on wood veneer, used the existing textures of the knotted grain to create elaborate compositions recalling both fantastic organic forms and the popular imagery of cartoons. Mining the unconscious and variously pursuing psychologically charged themes, these psychedelic depictions evolved over the years from primordial amoeba-like forms to quasi-figurative biomorphisms. A formalist by nature, Dunham’s paintings and drawings are studies in control—his line has become a protagonist in itself—nothing is accidental, whether executed in gentle pencil shading, audacious crayon scribble, or painterly ink and gouache.

While destruction as a theme can be traced throughout art history, from the early atomic age it has become a pervasive cultural element. In the immediate post-World War II years, to invoke destruction in art was to evoke the war itself: the awful devastation of battle, the firebombing of entire cities, the dropping of the atomic bombs on Japan, and, of course, the Holocaust. Art seemed powerless in the face of that terrible history. But by the early 1950s, with the escalation of the arms race and the prospect of nuclear annihilation, the theme of destruction in art took on a new energy and meaning. In the decades since, destruction has persisted as an essential component of artistic expression. Damage Control: Art and Destruction Since 1950 offers an overview of this prevalent motif. Prestel, 2013 9.8 x 11.5 inches, 224 pp., color illustrations Hardcover, ISBN 978-3791353166

“Ab Ovo” is a multi-media visual arts project organized by Steven Hull. Hull was inspired by his two children for “Ab Ovo” or “From the Egg,” and chose to use the children’s story as the goal and framework for the show. Nineteen visual artists were given the MMPI-2TM (Minnesota Multi Phasic Personality Inventory). The test, developed over 60 years ago, remains the most widely used measure of pathology by the U.S. legal system. Customized for child custody settings, the tests produced personality profiles which were anonymously and randomly assigned to nineteen writers. They were in turn asked to base children’s stories on them. The stories were then illustrated by a second group of 19 visual artists. The gallery installation featured the illustrations, an audio track of the writers reading their stories, and a picnic table designed by Dewey Ambrosino at which viewers could sit while they peruse the test results, which have been made anonymous. The tests, stories and illustrations are being published in this hardcover book “Catalogue Raisonne: Ab Ovo,” with a forward by Hull and an introduction by Susan Morgan. Published 2005.

Test Subjects: Julie Ault, Ellen Birrell, Derek Boshier, Candice Breitz, Inka Essenhigh, Charles Gaines, Steven Hull, Mike Kelley, Mary Kelly, Glenn Ligon, Simon Leung, Cosey Fanni Tutti, Jonathan Momk, Dario Robleto, Jim Shaw, Martha Rosler, Michael Smith, Georgina Starr, Bruce Yonemoto. Participants: Gail Pickering, Gail Swandlund, Ion Birch, Rachel Kushner, Marcos Rosales, Millie Wilson, Paul Noble, Trinie Dalton, Henry Taylor, Sean Dower, Soo Kim, Tony White, Isabell Heimerdinger, wayne Lindberg, Ivan Morley, Mady Schutzman, Kelly Barrie, Leslie Davis, Kaz Oshiro, Vincent Johnson, Lamar Peterson, Kimberly Nichols, Thomas Lawson, Stewert Lindh, Junko Shimizu, Jim Krusoe, Marnie Weber, Betty Nguyen, Paul P., Marina LaPalma, Hiroki Otsuka, Terri Phillips, Tanya Haden, Ben Ehrenreich, Scott Cassidy, Benjamin Weissman, Michael Mahalchick, Lynne Tillman.

Share Your Vision presents work by 21 artists; and when seen together, the exhibition and catalog examines the relationship between artistic vision and physical sight. Share Your Vision was produced by Visual AIDS with funding from Roche to help raise awareness of the impact of cytomegalovirus (CMV) retinitis on the lives of people with HIV.

The 23 prize-winning works of Share Your Vision were exhibited at Artists Space in New York from October 23 - November 1, 2003. The catalog includes an essay by Linda Yablonsky and full color illustrations. Share Your Vision includes works from Amos Beaida, Barton Lidice Benes, William Donovan, David Faulk, Michael Golden, Max Greenberg, horea, Larry JaBell, David Knudsvig (1947-1993), Elliot Linwood, Tim Lonergan, Yves Moralex, Robert O'Donnell, Luna Luis Ortiz, Austin Prentiss, Eric Rhein, Thomas Somerville, Steed Taylor, Becky Trotter, Carlos Visintine and Kurt Weston.

Improvisations - 1945 features a selection of thirty works on paper and paintings, all dating from 1945. A student of Neo-Plasticism, von Wiegand's work from this period demonstrates her experimentation with the technique of automatism as well as her awareness of and respect for the avant-garde abstractions of European modernists including Jean Arp, Wassily Kandinsky, Joan Miró, and Piet Mondrian.

This volume introduces a new body of work by Danish artist Sergej Jensen (born 1973). Known for his minimalist textile works and paintings, over a five-year period Jensen produced nearly 200 witty, surreal and cartoonish drawings of dogs, which have never before been published and are collected for the first time.

Pork Salad Press, 2012
Softcover, 88 pp.,
8.7 x 11.5 in.
ISBN: 9788791409639

Published to accompany Marden’s first exhibition in New York in five years, and his most significant since the Cold Mountain exhibition at the Dia Center for the Arts in 1991. Contains over 70 full-color plates of paintings, drawings, and etchings completed between 1997 and 2002. Mathew Marks Gallery, 2002 11.2 x 12.5 inches, 120 pp., color illustrations Hardcover, ISBN 978-1880146361

Fluxus is an international avant-garde collective or network of artists and composers founded in the 1960s. Established by the Lithuanian/American artist George Maciunas, Fluxus began as a small network of artists and composers, and was characterised as a shared attitude rather than a movement. Rooted in experimental music, it was named after a magazine which featured the work of musicians and artists centred around avant-garde composer John Cage.

Fluxus had no single unifying style. Artists used a range of media and processes adopting a ‘do-it-yourself’ attitude to creative activity, often staging random performances and using whatever materials were at hand to make art. Seeing themselves as an alternative to academic art and music, Fluxus was a democratic form of creativity open to anyone. Collaborations were encouraged between artists and across artforms, and also with the audience or spectator. It valued simplicity and anti-commercialism, with chance and accident playing a big part in the creation of works, and humour also being an important element.

This book compiles materials drawn from the Ellsworth Snyder Collection of Fluxus Multiples and Ephemera.

Zhang Huan has emerged as one of the most important artists of his time, a fearless explorer of the limits of the human body and a key figure in the flourishing Chinese art scene. His earliest performances, including 12m2, 65 kg and To Raise the Water Level in a Fishpond, subjected his body to grueling tests of endurance while addressing the relationship between physical endurance and spiritual tranquility. In the Interview RoseLee Goldberg discusses with Zhang his life and motivations, his childhood in the rural province of Tangyin and his realization that his body could be the best vehicle to express himself. Yilmaz Dziewior’s Survey analyses the evolution of Zhang’s work from his early, controversial performances in Beijing through to his interest in Buddhism and his recent development of monumental sculptures and paintings, some requiring over a hundred assistants. Robert Storr focuses on Canal Building (2007), an epic ash painting that serves as a testament to the tremendous power of collective labour. For Artist’s Choice, Zhang has selected an extract from the teachings of the ancient monk tiguang compiled by his disciple Miaoji. Artist’s Writings include Zhang’s own illuminating thoughts on his art and his life, including a previously unpublished artist’s statement. Phaidon, 2009 Softcover, 158 pp. ISBN: 9780714849249 Donated by: Blum & Poe

I wanted to make a show that would disappear completely. It had a lot to do with disappearance and learning. It was also about trying to be a threat to the art-marketing system, and also, to be really honest, it was about being generous to a certain extent. [..] Freud said that we rehearse our fears in order to lessen them. In a way this ''letting go'' of the work–this refusal to make a static form, a monolithic sculpture, in favor of a disappearing, changing, unstable, and fragile form–was an attempt on my part to rehearse my fears of having Ross disappear day by day right in front of my eyes.'' – Felix Gonzales-Torres Felix Gonzales-Torres is best known for installations and public artworks that invite the viewer's direct participation. In this interview with Tim Rollins, Gonzales-Torres talks about his commitment to social change and his understanding of his role as an artist in effecting that change. The publication includes essays by Susan Cahan and Jan Avgikos.

Before gaining widespread recognition for sculptural work that sought to dissolve aesthetic boundaries, most notably between sculpture and furniture, Scott Burton produced a substantial body of art writing in the late 1960s and early 1970s.

An eclectic and wide-ranging critic, he wrote such important texts as the introduction to the groundbreaking exhibition “Live in Your Head: When Attitudes Become Form” and served as an editor for both ARTnews and Art in America. In these same years, Burton became known as a performance artist, developing themes he pursued in his writing. Yet, his role as an artist-critic has rarely been discussed.

Scott Burton: Collected Writings on Art and Performance, 1965–1975 brings together for the first time Burton’s essays and unpublished manuscripts from these years, tracing his work as an art critic as well as his early statements on performance. In his writing, Burton championed positions that others held as mutually exclusive and antagonistic. He advocated for reductive abstract art while defending figuration, and he argued for the urgency of time-based and ephemeral art practices in the same years that he curated exhibitions of realist painting. Distinct in these diverse texts are Burton’s increasing concerns with art’s appeal to affects, empathies, and subjective responses; the early formulation of his desire to make art public and demotic; and his critical grasp on the implications and exclusions of mainstream narratives of art. This collection offers rich new context for Burton’s sculpture and public art and reveals him as an important voice in the rapidly changing art world of the 1960s and 1970s.

Born in 1961 in Buenos Aires, Argentina, where he lives, Guillermo Kuitca is one of Latin America’s leading contemporary artists. Inspired by the worlds of architecture, theater and cartography, his work has transcended geographical boundaries and has been exhibited extensively around the world. This catalogue was published on the occasion of the exhibition “Guillermo Kuitca: Stage Fright,” presented at Gallery Met, The Metropolitan Opera, New York, 19 September - 1 November 2007. Introduction by Peter Gelb and Dodie Kazanjian; essay by Stephen Barlow. Sperone Westwater, 2007 Hardcover 80 pages, 11 ¼ x 8 ¾ inches. No ISBN

This catalogue raisonné of de Kooning's 33 sculptures, published to accompany the first exhibition of the artist's monumental outdoor sculptures, includes specially commissioned photographs by Adam Bartos of the three sculptures installed outside the artist's studio in East Hampton, N.Y., as well as a wealth of previously unpublished photographs from the artist's archives. Includes texts by Andrew Forge, David Sylvester, and William Tucker. Matthew Marks Gallery, 1996 11.9 x 9.6 inches, 76 pp., color illustrations Hardcover, ISBN 1-880146-15-0

Cameron Jamie's work—a blend of video, sound, performance, photography and drawing—confronts the dysfunction of European and American society. His critical gaze often focuses on ritualistic practices in popular culture, such as hot dog eating contests and backyard wrestling. Taking suburban phenomena of this sort as his primary material, Jamie explores the dark underbelly of the American dream in drawings, film and performance. This artist-designed exhibition catalogue features more than 60 works in various media, illuminating the artist's process with selections from his personal archive of clippings and ephemera, as well as raw sketches for his projects. An essay by exhibition curator Philippe Vergne, a foreword by Walker director Kathy Halbreich and a reprint of a poem by Charles Bukowski selected by the artist provide context for this first large-scale, museum presentation of Jamie's work.

Elizabeth Murray's Notes for Fire and Rain consists of ten drawings of abstract hard lines and scribble marks, exploring figure studies through lyrical and playful experimentation with color and line.

Everything has a purpose that helps to define its shape: form follows function.'' – Andrew Spence

In this interview with Colin Thomson, abstract painter Andrew Spence discusses his artistic development and his experiences living in New York, Los Angeles, and Oklahoma. The interview is profusely illustrated with reproductions of Spence's work, and some of the architecture and industrial designs that directly inform it. The publication includes an essay by Richard Armstrong.

This collection of short stories by groundbreaking curator and author Marcia Tucker--who died in 2006 at the age of 66--was produced during her many residencies at The Acadia Summer Arts Program in Maine.

Tucker was the founder of New York's New Museum of Contemporary Art, where she served as Director from its inception in 1977 until 1999. Her motto, Act first, think later--that way you'll have something to think about, was a guiding principle in running the institution, where she organized such major exhibitions as A Labor of Love (1996) and Bad Girls (1994). After resigning from her post in 1999, Tucker continued to write, teach, lecture--and perform occasional stand-up comedy. Upon her death, Lisa Phillips, the current Director of the New Museum wrote, In her life and in her work, which were very intertwined, she was a kind of magnet who understood the power of people and brought them together around shared passions. She was and still is a force to be reckoned with.

American Folk Art Museum, 1999 9.2 x 11 inches, 239 pp., color illustrations Hardcover, ISBN 978-0912161075

The Third Elevator by Aimee Bender is a collaboration with artist Marnie Weber and was published by Nothing Moments Press in the fall of 2007. This book is a fantastical story of a swan, an elevator, miners, loggers and a queen entwined for delightful tale.

This group exhibition explores the various facets of abstraction produced from 1950 to 1965. Artists included are: Norman Bluhm, Jay DeFeo, Beauford Delaney, Burgoyne Diller, Fritz Glarner, Grace Hartigan, Eva Hesse, Lee Krasner, Norman Lewis, Boris Margo, Alfonso Ossorio, Anne Ryan, Charles Seliger, Alma Thomas, Mark Tobey, Esteban Vicente, and Charmion von Wiegand.

This catalogue features recent pen, ink, and graphite drawings by Martin Wilner, the artist’s second solo show at the gallery. In his now decade-long body of work, Making History, Wilner creates highly-detailed diaristic drawings based on the monthly calendar. On the verso of each drawing are descriptive texts or images that are integral to the work. Wilner blends elements of cartoon, cartography, text, micrography, and music in an evolving process that transforms news events of compelling personal interest into drawing. Each work coalesces into its own mysterious narrative of the artist’s daily life.

Making History consists of a suite of 12 double-sided drawings focused on the visual dimension of music in concert with text, cartography and representational drawing. The drawings proceed through a series of single step variations from one month to the next. Using media sources selected daily, Wilner developed systems of encoding narrative into musical scores. The results are visual nocturnes based on everyday events that transcend their mundane and often troubling sources in the pursuit of something more lyrical.

Catalogue published on the occasion of the exhibition Not Vital: 十 五, presented at Sperone Westwater, New York, 3 March - 31 March 2013. Features essay by Gian Enzo Sperone.

Not Vital features new stainless steel sculptures, HEADS, and a series of related drawings. Vital developed this striking sculptural series in his studio in the art district of Caochangdi, Beijing. These seven HEADS, all of a monochromatic palette, ranging from 4.5 to 6.2 feet in height, are pared down to simple contours. Only two of the works, HEAD Self-Portrait (2013) and HEAD Everton (2014), depict specific sitters. The flawlessly smooth, metallic finish, created using cutting-edge technology, establishes an austere and commanding presence. Seemingly both human and machine-like, the sculptures occupy an uneasy middle ground, on occasion ambiguous and disconcerting. These sculptures suggest Vital’s fascination with the fast-paced, highly productive, and raw nature of industrial China today. The abstracted and simplified shapes, however, also recall the earliest forms of sculptural representation, such as the iconic carved Moai statues of Easter Island and the ancient sculptural forms of Asian religious art. Not Vital (b. 1948, Sent, Engadin, Switzerland) studied in Paris and Rome before moving to New York in 1974.

Vital currently divides his time between Brazil, Chile, China, Niger and Switzerland. The artist’s work was featured in “Plateau of Humanity” at the 49th Venice Biennale, Italy (2001). Vital's major exhibitions have taken place at the Kunsthalle Bielefeld, Germany (2005); The Arts Club of Chicago, Illinois, (2006); KÖR Kunsthalle Wien public space Karlsplatz, Vienna, Austria (2009-2010); Ullens Center for Contemporary Art, Beijing, China (2011); the Cabinet d’Arts Graphiques, Musées d’Art et d’Histoire, Geneva, Switzerland (2014); and the Museo d’arte di Mendrisio, Mendrisio, Switzerland (2014-2015). In 2013, 700 Snowballs, an installation of 700 individual glass balls, was on view on the Isola di San Giorgio Maggiore in Venice, Italy. In autumn 2014, Vital’s Tongue will be featured in the Busan Biennale 2014, South Korea. Vital had his first solo show at Sperone Westwater in 1995, and “EVERTON” will be his seventh solo show at the gallery.

This exhibition includes eleven new paintings depicting images of fighter pilots and airplanes, classic motifs in Malcolm Morley's oeuvre since the early 1990s. Morley portrays aerial combat in dynamic scenes of movement and action. Morley is acknowledged as one of the earliest innovators of “super-realism,” which developed as a counterpoint to Pop Art in the 1960s. Over the course of his career, Morley has defied stylistic characterization, moving by turns through so-called abstract, realist, neo-romantic, and neo-expressionist painterly modes, while being attentive to his own biographical experiences. This exhibition catalog includes an essay by Brooks Adams.

One of the leading artists of her generation, Lorna Simpson (born 1960) came to prominence in the mid-1980s through her photographic and textual works that challenged conventional attitudes toward race, gender and cultural memory with a potent mixture of formal elegance and conceptual rigor. Published on the occasion of her 2013 exhibition at Aspen Art Museum, Lorna Simpson: Works on Paper highlights four recent bodies of work on paper that explore the complex relationship between the photographic archive and processes of self-fashioning, including a new group of works being developed during her time as the AAM’s 2013 Jane and Marc Nathanson Distinguished Artist in Residence. As in Simpson’s earlier works, these new drawings and collages take the African-American woman as a point of departure, continuing her longstanding examination of the ways that gender and culture shape the experience of life in our contemporary multiracial society. This beautifully illustrated catalogue features new scholarship by New Yorker staff writer Hilton Als, MoMA Chief Curator of Drawings, Connie Butler, LACMA Chief Curator of Contemporary Art, Franklin Sirmans, and the AAM’s Nancy and Bob Magoon CEO and Director, Heidi Zuckerman Jacobson. Aspen Art Museum, 2013 Paperback, 8 x 10 pgs 8 x 10 in ISBN 9780934324632

Active in Moscow since 1976, the Collective Actions group played a key role in the development of performance art in the Soviet Union. Inspired by the work of John Cage, the organizers invited audiences to take part in minimal, outdoor actions in fields and forests on the edges of the city. These spatio-temporal events directed viewers' attention to the pure contemplation of their own perceptions, and over time, the actions produced a great variety of documentary material. Collective Actions: Audience Recollections from the First Five Years 1976-1981 concentrates on the early period of field actions when the problems of documentation—how to capture and convey ephemeral action to non-participants—were just beginning to be considered. Soberscove Press, 2012 8 x 8 inches, 116 pp., color illustrations Softcover, ISBN 978-0982409053

Embassy architecture and design ranges from the humble to the stately, from the practical to the grand. Building Diplomacy is the first comprehensive photographic portrait of the official face of American diplomacy around the world. Elizabeth Gill Lui traveled to fifty countries to photograph American embassies, chanceries, and ambassadors' residences. This record of her journey includes approximately five hundred artful and eloquent interior and exterior views shot by Lui with a large-format camera. Keya Keita, Lui's daughter and partner on the project, shot a live-action documentary of embassies and the cultural milieu of each nation Lui and Keita visited. The text includes an essay by Jane Loeffler detailing the history of the U.S. Department of State's building program. America's commitment to historic preservation of properties has been realized in Buenos Aires, London, Paris, Prague, and Tokyo. The modernist tradition is showcased in Argentina, Greece, India, Indonesia, Mexico, the Netherlands, and Uruguay. Vernacular buildings adapted to diplomatic use are widespread: Lui photographed examples of adapted reuse in Ghana, Iceland, Mongolia, Myanmar, and Palau. Buildings that reflect Europe's colonial legacy are also in evidence. After the 1983 bombing in Beirut, embassy construction began to reflect increased security concerns. Embassies built after 1998, although isolated within walled compounds, are well regarded by those who work in them. The author makes a case that embassy architecture is a critical aspect of American identity on the international landscape and can be formative in defining a new cultural diplomacy in the twenty-first century. Structured geographically, Building Diplomacy portrays embassies in Africa, East Asia, Europe, the Near East, the Pacific, South Asia, and the Western Hemisphere. An appendix lists the architects and designers of the featured buildings.

Since 1992, the Dia Center for the Arts has presented the Robert Lehman Lectures on Contemporary Art, an example of Dia's ongoing commitment to cross-disciplinary critical discourse. This fourth volume of collected theoretical and critical essays focuses on Dia's exhibitions from 2001 through 2002, with contributions by Alexander Alberro, Jan Avgikos, Colin Gardner, Dave Hickey, Rosalind Krauss, Miwon Kwon, Ulrich Loock, Richard Shiff and Dirk Snauwaert. These writers analyze the work of artists such as Roni Horn, Alfred Jensen, Bruce Nauman, Max Neuhaus, Panamarenko, Jorge Pardo, Gerhard Richter, Bridget Riley, Diana Thater and Gilberto Zorio. Dia Center for the Arts, 2009 200 pp., illustrations Softcover, ISBN 9780944521793

Pat Passlof: Paintings from the 1950s charts the earliest years of Passlof’s career from her studies with Willem de Kooning to her first exhibitions at the historic, artist-run March Gallery on Tenth Street. Passlof’s paintings from this period tell the story of a talented, audacious painter coming of age during a legendary decade of New York painting.

Elizabeth Harris Gallery, 2014
Softcover, 74pp.,
10 x 8 1/2 in.

Edward Ralph Kienholz (October 23, 1927 – June 10, 1994) was an American installation artist and assemblage sculptor whose work was highly critical of aspects of modern life. From 1972 onwards, he assembled much of his artwork in close collaboration with his artistic partner and fifth wife, Nancy Reddin Kienholz. Throughout much of their career, the work of the Kienholzes was more appreciated in Europe than in their native United States, though American museums have featured their art more prominently since the 1990s.

Art critic Brian Sewell called Edward Kienholz "the least known, most neglected and forgotten American artist of Jack Kerouac's Beat Generation of the 1950s, a contemporary of the writers Allen Ginsberg, William Burroughs and Norman Mailer, his visual imagery at least as grim, gritty, sordid and depressing as their literary vocabulary".

This catalog on Edward Kienholz includes an essay by Marco Livingston, text and historical chronology by Nancy Reddin Kienholz.

A full-color catalog for the second exhibition of recent paintings and drawings by Copenhagen-based artist Tal R at Cheim & Read. Includes a story by Gary Indiana. Cheim & Read, 2014 94 pp., color illustrations Softcover, ISBN 9780991468157

Work by 21 artists--including Mary Ellen Carroll, Mel Chin and Sharon Engelstein--who have infiltrated the fabric of Houston. Contemporary Arts Museum Houston, 2009 Paperback, 9.5 x 12 in 100 pgs ISBN 9781933619194