Within the pages of their collaborative “Gay Love Comix,” Carlo Quispe, Mike Diana, and Shane Uht let their subconscious desires and fantasies roam freely, gleefully blurring distinctions between pleasure and pain, the public and the private, the sacred and the profane. Quickly-executed ink drawings, in which draftsmanship is sacrificed for rawness and spontaneity, give visual manifestation to situations rarely seen in comics of any kind: lovers arguing over their addictions and engaging in explicit sex acts involving razor blades, an “electric eel robot”, and - perhaps most shockingly - genuine and candidly-expressed affection for one another.

From the 1970s until her death, Louisiana-born artist Tina Girouard (1946–2020) was a dedicated experimental artist, collaborator and art worker. Alongside her individual creative endeavors, she nurtured and was a part of numerous influential artist communities and organizations in New York, Louisiana and Haiti, including the Anarchitecture Group, the interdisciplinary cohort of 112 Greene Street, the restaurant Food, the Kitchen, P.S. 1 and the Festival International de la Louisiane. Her acts of upkeep, including domestic labor traditionally associated with “women’s work,” blurred the boundaries between artmaking and what she called life-making. Sign-In is the first comprehensive monograph on her interdisciplinary oeuvre. It gathers documentation of her work in video, performance, drawing, textile, wall works and installation, tracing Girouard’s practice and legacy across genres and geographies.

Tracing the Past, Drawing the Future examines a crucial turning point in the development of Chinese ink painting in the twentieth century, a change represented by the beautiful and innovative work of four artists, Wu Changshuo (1844-1927), Qi Baishi (1863-1957), Huang Binhong (1864-1955), and Pan Tianshou (1897-1971). With careers spanning over a century of radical change in China, these artists were instrumental in propelling the ancient tradition of Chinese ink painting into the modern era in the face of compelling Western influences. As a group, their work represents an alternative approach to questions of relevance and modernity.
This lavish book illuminates the context in which these artists worked, describes their overall contribution to the history of Chinese art, and highlights their individual ideas and achievements. In his introductory essay, Xiaoneng Yang offers a brief historical background for the evolution of modern Chinese painting. Richard E. Vinograd analyzes the alternative modernism” represented by these artists, each of whom worked in the brush-and-ink idiom, confronted the shift toward practices of the West, and gave new life through this confrontation to cherished traditions. Essays devoted to each artist are followed by individual entries discussing their works. Featuring more than one hundred works of both painting and calligraphy by the four artists, the book, which is published to accompany a traveling exhibition, also includes a glossary and detailed bibliography.

Exhibition catalog documenting sculptures and other works shown at SITE Santa Fe by the artist, Teresa Fernandez.

This exhibition catalog includes several color illustrations from a drawing series by Mike Glier as well as a short story by writer and curator Bruce Ferguson.

This catalog was published as a companion to his 2005 Luhring Augustine exhibition, Yasumasa Morimura: Los Nuevos Capricios. It details a group of photographs based on the artwork of the Spanish Master Francisco José de Goya y Lucientes.

Thomas Wilfred (1889–1968) devoted his life to the creation of a new art form, the art of light, which he termed "Lumia." In the 1920s, Wilfred toured the US and Europe to great acclaim staging colored-light recitals with his Clavilux organ. By the late '20s he had reinvented these large scale performances as self-enclosed light shows for living room entertainment. Wilfred’s aesthetically elegant and interactive Clavilux and Lumia home models were soon found in the collections of important art world figures and in major museums. His work was on view into the '80s at MoMA, where it was seen by many of the artists who came to work with light as their medium in the '60s and '70s. Thomas Wilfred: Clavilux and Lumia Home Models presents a fascinating collection of archival material culled from the Wilfred archive at Yale University and other sources, including never before published sketches by Wilfred and documentation of these strange glowing screens that predated television, video art, and psychedelia.

Catalogue published jointly by Sperone Westwater and Manchester City Galleries on the occasion of the exhibition “Wim Delvoye: Gothic Works,” presented at Sperone Westwater, New York, 13 September – 26 October 2002. Essays by Edwin Carels, Birgit Sonna, Catherine Francblin and Philip Hoare. Hardcover; 152 pages; full color plates; 11 4.5 x 9 inches.v

A revised edition of unpublished pieces from the “B-sides” of Eggleston’s archive, curated and analyzed by Hollywood writers, directors and authors

American photographer William Eggleston approached his quotidian snapshots of Americana with a vivid and cinematic eye. For Now is a curation of Eggleston’s unpublished photographs by filmmaker Michael Almereyda, director of the 2005 documentary William Eggleston in the Real World. Almereyda pores through a collection of over 35,000 images in the archive spanning four decades of work in what he calls “the B-sides, the bootlegs, the unreleased tracks.” This oversized fourth edition includes eight additional new unpublished photographs. Essays include text by Almereyda as well as Greil Marcus, author of Lipstick Traces: A Secret History of the 20th Century; author and film critic Amy Taubin; Kristine McKenna, Los Angeles Times journalist from 1977 through 1998, and one of the first mainstream chroniclers of the L.A. punk rock scene; and director and screenwriter Lloyd Fonvielle. Unusual in its concentration on the artist’s family and friends, the book suggests an air of offhand intimacy, typical of Eggleston and typically surprising.

Terry Allen (born May 7, 1943) is an American Texas country and outlaw country singer-songwriter, painter and conceptual artist from Lubbock, Texas. This exhibition catalog documents his 1991 show at L.A. Louver.

The Signing is a facsimile reproduction of the gallery sign-in book from the artist’s 2007 exhibition Abstraction at Luhring Augustine. Hardbound in black cloth to resemble the sketchbook on which is based, the book consists of the signatures and notes left by visitors both famous and unknown. This deluxe edition includes a replicated handwritten note to Smith by Luhring Augustine’s associate director Sophie Aschauer.

The artists featured in The Black Index—Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas—build upon the tradition of Black self-representation as an antidote to colonialist images. Their translations of photography challenge the medium’s long-assumed qualities of objectivity, legibility, and identification. Using drawing, sculpture, and digital technology to transform the recorded image, these artists question our reliance on photography as a privileged source for documentary objectivity and historical understanding. The works featured here offer an alternative practice—a Black index. In the hands of these six artists, the index still serves as a finding aid for information about Black subjects, but it also challenges viewers’ desire for classification and, instead, redirects them toward alternative information.

The artist Thomas Schütte, born 1954 in Oldenburg and Gerhard Richter’s student at the Dusseldorf Art Academy from 1973 to 1981, is a moralist who uses his work to posit questions and trigger uncertainty. At the same time, however, he is also a romantic and a melancholiac who, with black humor and skepticism, creates a model of the world. In this publication, which goes back to the three-part, 18-month-long show at the Dia Center for the Arts in New York, in chronological sequence the works of the last two decades are documented. “Scenewright” the first installation In New York from September 1998 to January 1999, showed, among other things, the 1977 installation Grosse Mauer (large wall), as well as the work groups of the 80s that thematized views of public buildings and imaginary places, as well as theater stage sets. “Gloria in Memoria” from February to June 1999 studied the theme of the monument and the anti-hero (Mohr’s Life, 1988) from the drawings to the installation. The third exhibition “In Medias Res” from September 1999 to June 2000 concentrated on the monumental sculptures of steel – female figures and self-portraits – and of ceramic: among others, oversized urns, monumental portraits of the gallerist Konrad Fischer, nine life-size clay figures in colorful robes Die Fremden (The Strangers) from 1992.

In 1972, artist Garth Evans welcomed the opportunity to create a public sculpture in Cardiff, Wales, as part of the Peter Stuyvesant Foundation’s City Sculpture Project. Concerned that the increasing demand for his work served only to reinforce the political, social, and economic status quos, Evans hoped to unsettle this dynamic by making a sculpture that would connect with an audience outside of the art world. The morning after the installation of his sculpture, Evans recorded the responses of passersby. The Beckettian transcript of the Cardiff interviews is presented here, framed by Evans’s introduction and reflection. Art historian Jon Wood contextualizes The Cardiff Tapes within contemporaneous debates about sculpture and public space. These writings explore ideas about the social responsibilities of art and artists and make a cogent argument for the value of “difficulty” in sculpture.

Garth Evans (b. 1934, Manchester, UK) has exhibited widely across the UK and United States since the 1960s. He has received numerous awards including the Guggenheim Fellowship, the Pollock-Krasner Foundation Award, the British Council Exhibitions Abroad Grant, and residencies at Yaddo and the Marie Walsh Sharpe Foundation. In 2013, artist Richard Deacon curated the survey exhibition Garth Evans at Yorkshire Sculpture Park, which coincided with the release of Garth Evans: Sculpture Beneath the Skin, edited by Ann Compton (Philip Wilson Publishers, 2013), a major publication reviewing his career to date. His work is represented in major public and private collections, including Tate, the Metropolitan Museum of Art, the Museum of Modern Art, the Victoria & Albert Museum, and the British Museum. Evans currently lives and works in northeastern Connecticut and teaches in New York, where he is head of sculpture at the New York Studio School.

Jon Wood is research curator at the Henry Moore Institute in Leeds. In 2007, he compiled and edited The Modern Sculpture Reader, an anthology of twentieth-century writings on sculpture, with Alex Potts and David Hulks. He is presently compiling a collection of essays, in collaboration with Ian Christie, looking at the changing relationship between sculpture and film and writing a book called Sculpture Now, for Tate Publishing.

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.

This is an exhibition catalogue reproducing ten black-and-white photographs in tri-tone, all taken between 1954 and 1978, culled predominantly from a small group of photographs that survived the 1963 fire that destroyed most of Chappell’s prints and negatives.

Includes a poem by Robert Creeley, composed for Chappell in 1973, and “Time Lived,” an essay by Peter Bunnell, curator of photography at the Princeton Art Museum. Bunnell succinctly reviews Chappell’s work by stating that “Chappell has always believed firmly in the duality of the corporeal and the spirit … The fundamental principle in [his work] is that the tenuous connection to photographic reality is not severed. Each subject is re-presented in such a way that our perceptual limitation is expanded. Each image suggests an inner reality, a kind of scar of the past, a reflection of an act or event once lived.”

The Domestic Plane: New Perspectives on Tabletop Art Objects features work by more than eighty artists across the fields of art and craft from the twentieth and twenty-first centuries, presented in a meta-group exhibition in five parts mounted by The Aldrich Contemporary Art Museum. This fully illustrated publication features texts by curators Elizabeth Essner, Dakin Hart, Richard Klein, and Amy Smith-Stewart; a visual essay by artist and illustrator Richard McGuire; and work by participating artists including David Adamo, Yuji Agematsu, Alma Allen, Janine Antoni, Robert Arneson, Genesis Belanger, Kathy Butterly, James Lee Byars, Anthony Caro, Melvin Edwards, Jessica Jackson Hutchins, Pam Lins, Tucker Nichols, Mai-Thu Perret, Jessi Reaves, Kay Sekimachi, Diane Simpson, Arlene Shechet, Alina Szapocznikow, and Nari Ward, among many others.

William Eggleston’s latest monograph features photographs taken during the early 1970s using a large-format 5 x 7 camera. The book includes imagery typical of the Eggleston oeuvre—streetscapes, parked automobiles, portraits of the strange and disenfranchised. It also offers never-before-published photographs taken in the nightclubs Eggleston frequented. The portraits are offhand and spontaneous but insistently stark; their brutality is heightened by the absence of color. They have a leveling effect—whether biker or debutante, the people are clearly denizens of the same realm.

"Sarfati’s work is defined through an opposition to the editorial urge to fix narratives to her subjects. Her images create a loose, layered and intensely rich visual project triggering emotions and thoughts that move well beyond her ostensible subjects. Sarfati’s importance in today’s debates about the role and visual languages of socially engaged photography also rests in her resistance to fully objectify the subjects that compel her to make imagery. The American Series represents one of those rare experiences for photographers where the photographs almost—just—happened. Sarfati did not overly choreograph her subjects; she also created the psychological space for them, in turn, to act upon her and to act up—or down—for the camera. This perhaps accounts for Sarfati’s success in re-presenting American young people as, simply, individually and universally the carriers of states of minds." — Clare Grafik, Photographers Gallery, London

Text by Olga Medvedkova

Top Stories was a prose periodical published from 1978 to 1991 by the artist Anne Turyn in Buffalo, New York, and New York City. Over the course of twenty-nine issues, it served as a pivotal platform for experimental fiction and art through single-artist issues and two anthologies. The entire run of Top Stories is collected and reproduced here across two volumes.

Top Stories primarily featured female artists, though in Turyn’s words a few men “crept in as collaborators.” Although primarily “a prose periodical” (as its byline often stated), the issues varied in form and aesthetics, pushing the boundaries of what prose could be and, from time to time, escaping the genre altogether. In fact, the only parameters required for participants were that the periodical’s logo and issue list be included on the front and back covers, respectively.

A great deal of the works are short stories by the likes of Pati Hill, Tama Janowitz, and Kathy Acker, whose Pushcart Prize–winning “New York City in 1979” appeared for the first time in book form as part of the series. Constance DeJong contributes “I.T.I.L.O.E.,” a widely unavailable work that features the artist’s trademark prose and is sure to please fans of her novel, Modern Love. The largest issue of the periodical is undoubtedly Cookie Mueller’s “How to Get Rid of Pimples,” which consists of a series of character studies of friends interspersed with photographs by David Armstrong, Nan Goldin, and Peter Hujar altered with freshly drawn blemishes.

Top Stories also celebrates less conventional literary forms. Issues by Lisa Bloomfield, Linda Neaman, and Anne Turyn take the form of artists’ books, juxtaposing image and text to construct tightly wound, interdependent narratives. Jenny Holzer and Peter Nadin present a collaborative work in copper ink comprised of truisms by Holzer on corporeal and emotional states and drawings of abstract bodies by Nadin. Janet Stein contributes a comic, while Ursule Molinaro provides a thorough index of daily life (and the contempt it produces) consisting of entries that were written just prior to lighting a cigarette.

Primary contributors include Kathy Acker, Laurie Anderson, Sheila Ascher, Douglas Blau, Lisa Bloomfield, Linda L. Cathcart, Cheryl Clarke, Susan Daitch, Constance DeJong, Jane Dickson, Judith Doyle, Lee Eiferman, Robert Fiengo, Joe Gibbons, Pati Hill, Jenny Holzer, Gary Indiana, Tama Janowitz, Suzanne Jackson, Suzanne Johnson, Caryl Jones-Sylvester, Mary Kelly, Judy Linn, Micki McGee, Ursule Molinaro, Cookie Mueller, Peter Nadin, Linda Neaman, Glenn O’Brien, Romaine Perin, Richard Prince, Lou Robinson, Janet Stein, Dennis Straus, Sekou Sundiata, Leslie Thornton, Kirsten Thorup, Lynne Tillman, Anne Turyn, Gail Vachon, Brian Wallis, Jane Warrick, and Donna Wyszomierski.

David Armstrong, Nan Goldin, JT Hryvniak, Peter Hujar, Nancy Linn, Trish McAdams, Linda Neaman, Marcia Resnick, Michael Sticht, and Aja Thorup all make appearances as well, contributing artwork for the covers or as illustrations.

This is an exhibition catalog of the eponymous exhibition at Galerie Barbara Farber at Amsterdam in 1992. Antony Scherman (August 13, 1950 – February 28, 2023) was a Canadian painter. He was known for his use of encaustic and portraiture to depict events of historical, cultural and popular significance.

Lexicon is a facsimile cloth edition of an antiquarian Latin-Greek dictionary which the internationally celebrated South African artist William Kentridge (born 1954) has embellished with black ink drawings of what might seem at first to be animal silhouettes. In reproducing the work (which is uncollected elsewhere), this beautifully designed artist's book mischievously pits the model of the flipbook against the fragility of the antiquarian original, and flipping its pages animates Kentridge's lively, spiky drawings into a continuously morphing image that transforms from a cat to a coffee pot over the course of the book's 160 pages. This image is based on a disintegrating sculpture that reflects the artist's interest in the instability of objecthood. Lexiconis accompanied by a DVD containing a short film in which Kentridge flips the pages himself.

Explores the memory pieces that Duncan creates which refer to real-life events from his early youth in Scotland during World War II, and later in New York City following his immigration in 1947. His work often appropriates toy figures and other found objects, but just as often he fabricates miniature sculpted and painted clay figures cast in plaster, then places them against a drawn and hand-colored or collaged backdrop. Mixing humor, religion, sexuality and politics, he ultimately defuses them through a layering of contradictory emotions that are both childlike and chillingly adult.

Please note: This title contains adult themes and may not be suitable for younger readers.

Urs Fischer’s work explores the genres of classical art history (still lifes, portraits, nudes, landscapes, and interiors) at the intersection with everyday life—in cast sculptures and assemblages, paintings, digital montages, spatial installations, mutating or kinetic objects, and texts. This volume includes fifty-five color illustrations from Urs Fischer’s Beds and Problem Paintings show that was exhibited at Gagosian Gallery in Los Angeles from February 23–April 7, 2012. This was the artist’s first major solo exhibition with the gallery. Beds and Problem Paintings was designed by the artist, and the images within the book include installation photos from the exhibition as well as photographs taken by the artist.

In 2004, artist Aleksandra Mir visited the Cincinnati home of collectors Andy and Karen Stillpass in a not so thinly veiled attempt to learn more about their twenty-year old daughter, Zoe. Through an extensive interview and unprecedented access to an archive of old documents, baby pictures and childhood ephemera, Mir crafts a portrait of Zoe through a lens distorted by “parental dreams and desires, the factual creation of their daughter, and the circumstances of her life” all without her concrete presence. The result is an eerie, unadulterated look at a child predisposed to grow into an image perhaps not completely her own.

Known for his large scale paintings and photographs, renowned artist Chuck Close interviews 27 artists whose portraits he has painted over the years. This volume brings together the voices of three generations of American artists, including conversations between Close and artists Nancy Graves, Richard Serra, Philip Glass, Joe Zucker, Robert Israel, Leslie Close, Klaus Kertess, Mark Greenwold, Georgia Close, Arne Glimcher, Lucas Samaras, Alex Katz, Cindy Sherman, Elizabeth Murray, Judy Pfaff, Eric Fischl, April Gornik, William Wegman, Janet Fish, John Chamberlain, Richard Artschwager, Joel Shapiro, Kiki Smith, Roy Lichtenstein, Dorothea Rockburne, Lorna Simpson, Paul Cadmus.

Torrington Project is an artist book by Tom Burr documenting his three-year occupation of a repurposed 19th-century factory in Torrington, Connecticut. A subversive take on the catalogue raisonné, it blurs the boundaries between studio and gallery, art and architecture, and artist and community. Through extensive photographic documentation, critical essays, and personal reflections, it maps both the physical transformation of the space and the network of social exchanges that emerged within it. The publication functions not as a static record but as an active extension of the Torrington Project itself—a site where past works, new interventions, and evolving ideas continue to circulate and unfold beyond their original context.

From 2021 to 2024, Burr took up residence in a sprawling, former manufacturing facility. Neither a conventional exhibition nor a traditional studio, the project transformed the building into what Burr has called a “living archive”—a space for revisiting, recontextualizing, and, in some cases, restoring past works. Rather than a site of pure production, Burr brought together over ninety works from throughout his career, collapsing the divide between past and present. Burr also opened the space to fellow artists, inviting Gordon Hall, Maria Hassabi, and Nick Mauss to stage performances, while welcoming an evolving network of visitors as Torrington Project unfolded. The project explored the fluid interplay between an artwork’s conception, reception, and historicization, with Burr reflecting on how his work has shifted over time—an investigation now deployed through the form of this book.

Alongside writing from George Baker, Jordan Carter, Aria Dean, Jody Graf, Renée Green, David Joselit, Christine Messineo, Humberto Moro, Blake Oetting, as well as Burr’s recollections, the publication also features extensive documentation and archival ephemera. Torrington Project charts the social and spatial dimensions that defined the titular endeavor, underscoring Burr’s ongoing engagement with architecture, institutional critique, personal histories, and the transformation of public space.

Tom Burr is a conceptual artist whose work examines the entanglements of architecture, identity, and public space. A graduate of the Whitney Independent Study Program, Burr emerged through the influential gallery American Fine Arts, Co., aligning with a generation of artists who reimagined the strategies of institutional critique and minimalism in response to the shifting political and social dynamics of late twentieth century New York City. Burr’s work has been featured in major exhibitions including Sonsbeek 93 in Arnhem, Question the Wall Itself at the Walker Art Center in Minneapolis, the 2004 Whitney Biennial, and Skulptur Projekte Münster, among others. His extra-institutional projects include Body/Building, a year-long residency in the Marcel Breuer-designed Pirelli Tire Building in his hometown of New Haven, Connecticut. In addition to his artistic practice, Burr is a prolific writer. His collected texts were published in Anthology: Writings 1991–2015. He lives and works between New York and Connecticut.

Started in 1989 by designer and writer Robert Ford, THING magazine was the voice of the Queer Black music and art scene in the early 1990s. Ford and his editors were part of the burgeoning House music scene, which originated in Chicago’s Queer underground, and some of the top DJs and musicians from that time were featured in the magazine, including Frankie Knuckles, Gemini, Larry Heard, Rupaul, and Deee-Lite. THING published ten issues from 1989-1993, before it was cut short by Ford’s death from AIDS-related illness. All ten issues of THING are collected and published here for the first time.

As House music thrived, THING captured the multidisciplinary nature of the scene, opening its pages to a wide range of subjects: poetry and gossip, fiction and art, interviews and polemics. The HIV/AIDS crisis loomed large in its contents, particularly in the personal reflections and vital treatment resources that it published. An essay by poet Essex Hemphill was published alongside the gossip columnist Michael Musto and Rupaul dished wisdom alongside a diary from the March on Washington for Lesbian, Gay, and Bi Equal Rights and Liberation. Joan Jett Blakk’s revolutionary presidential campaign is contained in these pages, as are some of the most underground, influential literary voices of the time, such as Dennis Cooper, Vaginal Davis, Gary Indiana, Marlon Riggs, David Wojnarowicz, and even David Sedaris.

THING was very much in dialogue with the club kids in New York and other Queer publishing ventures, but in many ways, it fostered an entirely unique perspective—one with more serious ambitions. In a 460moment when the gay community was besieged by the HIV/AIDS crisis and a wantonly cruel government, the influence and significance of this cheaply-produced newsprint magazine vastly exceeded its humble means, presenting a beautiful portrait of the ball and club culture that existed in Chicago with deep intellectual reflections. THING was a publication by and for its community and understood the fleetingness of its moment. To reencounter this work today, is to reinstate the Black voices who were so central to the history of HIV/AIDS activism and Queer and club culture, but which were often sidelined by white Queer discourse. In many ways, THING offered a blueprint for the fundamental role a magazine plays in bringing together a community, its tagline summing up the bold stakes of this important venture: “She Knows Who She Is.”

The magazine included contributions from Trent D. Adkins, Joey Arias, Aaron Avant Garde, Ed Bailey, Freddie Bain, Basscut, Belasco, Joan Jett Blakk, Simone Bouyer, Lady Bunny, Bunny & Pussy, Derrick Carter, Fire Chick, Chicklet, Stephanie Coleman, Bill Coleman, Lee Collins, Gregory Conerly, Mark Contratto, Dennis Cooper, Dorian Corey, Ed Crosby, The Darva, Vaginal Davis, Deee-Lite, Tor Dettwiler, Riley Evans, Evil, The Fabulous Pop Tarts, Mark Farina, Larry Flick, Robert Ford, Scott Free, David Gandy, Gemini, Gabriel Gomez, Roy Gonsalves, Chuck Gonzales, Tony Greene, André Halmon, Lyle Ashton Harris, Larry Heard, Essex Hemphill, Kathryn Hixson, Sterling Houston, Ishmael Houston-Jones, Gary Indiana, Candy J, Jamoo, Jazzmun, Gant Johnson, Owen Keehnen, Lady Miss Kier, Spencer Kincy, Iris Kit, Erin Krystle, Steve LaFreniere, Larvetta Larvon, Marc Loveless, Lypsinka, Malone, Marjorie Marginal, Terry A. Martin, Rodney McCoy Jr., Alan Miller, Bobby Miller, Michael Musto, Ultra Naté, Willi Ninja, Scott “Spunk” O’Hara, DeAundra Peek, Earl Pleasure, Marlon Riggs, Robert Rodi, Todd Roulette, RuPaul, Chantay Savage, David Sedaris, Rosser Shymanski, Larry Tee, Voice Farm, Lawrence D. Warren, Martha Wash, LeRoy Whitfield, Stephen Winter, David Wojnarowicz, and Hector Xtravaganza.

The Black Eye continues Michal Chelbin’s exploration of the world of athletes and performers from Eastern Europe, Israel, and England. The athletes and wrestlers in this series are studies in contrasts: youth and manhood, strength and weakness, tenderness and rigidity, odd and ordinary, splendor and roughness. Presented in a clear and balanced format, the pictures challenge the viewer with their ambiguity.

While revealing little about the lives of Chelbin’s subjects, the photos do reveal an internal drama, capturing a tension between the gaze and the presence of each individual. These athletes are exhausted after a hard training session or fight. Some are breathless, sweaty, and fatigued. Chelbin searches for a certain expression in which they have almost calmed their breath but not yet fully regained their self-awareness. It is a moment when they have lifted their mask and surrendered to the camera. Her aim is to expose this moment, and the contradiction between the person and the persona.

Story by Etgar Keret

Edited by Phil Mariani and Brian Wallis, Wedge was a seminal periodical combining artists’ projects and critical and theoretical writings that ran during the early to mid 1980’s. Essays on the importance of sexuality in women’s lives today and througout history. Gender roles are examined and in the spirit of the issue’s theme “re/positions” these roles.

In the early 1980s, the artist Tim Rollins initiated a curriculum for high schoolers in the South Bronx to engage their creativity with art and literature activities, embarking on what proved to be an enduring collaborative venture. The initial group of students--who dubbed themselves the K.O.S., or Kids of Survival--made art by drawing and painting on books, while others read a novel out loud (anything from Mark Twain’s The Adventures of Huckleberry Finn to Franz Kafka’s Amerika).

Perhaps unusually for such a venture, the painted book works that arose from this collaboration entered the art mainstream, and Rollins and K.O.S. have since participated in Documenta, the Venice Biennale, two Whitney Biennials and numerous other museum shows.

Published on the occasion of a major touring exhibition in Europe, and examining each book work individually, this volume gathers the entirety of the group’s output.

This publication accompanies the exhibition Unfurled: Supports/Surfaces 1966-1976 at the Museum of Contemporary Art Detroit in 2019.

The French art movement, Supports/Surfaces produced artwork marked by an interest in materiality, a lyrical use of color, and expansive ideas of what constitutes a painting. French society was undergoing social protests and upheavals in the 1960s that mirrored the civil rights and anti-war movements in the USA. The Supports/Surfaces artists sought new forms and methods to reflect their times: standard art materials were dropped in favor of homespun non-art materials (bed sheets, rope, dish rags) and figuration was replaced by loose, permeable grids that hinted at a more democratic method of art-making and a proposal for humane
society. Although working abstractly, these artists shared a deeply political approach to making and showing art.

The photographs featured in Viscidity by Boris Mikhailov were completed and sequenced in Kharkov in 1982 but only now published as a book. Reproduced at their original scale, we have added translations from the Russian to English. In addition, the book features “I was walking through a field,” an original bilingual essay by Mikhailov illuminating the history of the work and written specially for this edition.

One of three early and critical image-text works, Viscidity was completed after Horizontal Pictures and Vertical Calendars (1978-1980) and shortly before Unfinished Dissertation (1984). As Mikhailov states: “At first the texts tautologically repeated what was visible in the image, as though they were simply drawing attention to the photograph (the first book)… gradually the texts changed and became poetic and deeper (the second book)… then I added quotations in addition to my own reflections on photography (the third book).”

Viscidity was produced during a time of “deep political stagnation. Nothing is happening — nothing at all is interesting … There was a kind of certainty that society was at the threshold of something unknown, something everyone was anticipating. Many people felt this way.”

Mikhailov is best known for provocative self-portraits and politically charged color photographs, from the earliest works in Red Series (1968–75) to the gut wrenching yet seductive images of the homeless in the Soviet Union, published in Case Studies (Scalo, 1999). A prolific and experimental artist, Mikhailov’s work rests naturally beside the most respected conceptual artists of his generation. Photographs from Viscidity have been exhibited widely throughout his career, most importantly in 2004 in the critically acclaimed exhibition and accompanying catalogue at the Serralves Museum in Portugal by Margarita and Victor Tupitsyn, Verbal Photography: Ilya Kabakov and Boris Mikhailov and the Moscow Archive of New Art.

Thornton Dial’s life has been forged on the hard edge of labor. From handling mules on his cousin’s farm in Alabama, at age five, to his years as a machinist at the Pullman Standard factory building train cars, Dial has developed an ethos of hard work, ingenuity, and fierce independence. Nowhere has this been more evident than in his art.

Dial’s work has historically focused on major social, cultural, political, and economic issues. He has addressed the complex and multilayered subjects of civil rights, women’s rights, and the plight of the poor, and has examined tragedies like the terrorist attacks of 9/11, and the war in Iraq. His work has been a tireless advocate of society’s underdogs, giving voice to the disenfranchised.

The first comprehensive survey of Moffett's investigations into art history, paint, and form, Donald Moffett: The Extravagant Vein provides viewers with insight into the artist's practice over the past twenty years. As a painter, Moffett extends the traditional two-dimensional frame, converting flat planes into highly textured reliefs in oil painting, or into intricate illuminations through video projection onto canvas. The subject matter of his paintings–from landscape and nature to politics and history–is poetic, provocative, and even at times humorous. Moffett has remained engaged with issues surrounding the presence of gays in historical and contemporary culture that resonate today, as well as more timeless questions of love, loss, alienation, and death. Contemporary Arts Museum Houston, 2011 10.6 x 8.6 inches, 224 pp., illustrations Hardcover, ISBN 0847837270

Issued in conjunction with an exhibition on the theme. Catalogue lists 89 works by 20 Los Angeles artists. Includes a five-page introduction by Barry Heisler, a 30-page essay by Paul Karlstrom, "Modernism in Southern California, 1920-1956, Reflections on the Art and the Times", and biographical essays on each of the artists by Susan Ehrlich. Wonderful color illustrations.

This book was published on the occasion of the exhibition Walter De Maria: The 5-7-9 Series at Gagosian, Rome.

By arranging forms according to mathematical sequences, De Maria worked at the intersections of Minimalism, Conceptual art, and Land art—drawing attention to the limits of gallery spaces, prioritizing bodily awareness, and locating the content of an artwork in the viewer. This volume is dedicated to three sculptures by the artist: The 5-7-9 Series (1992/1996), Large Rod Series: Circle/Rectangle 11 (1986), and 13-Sided Open Polygon (1984). Each work represents a major series for De Maria during the last fifty years.

The bilingual (English/Italian) publication includes a two-part essay by Lars Nittve, explanatory texts on each work, a short history of three twenty-seven-part sculptures by De Maria, and a selected exhibition history.

Teresita Fernández’s dazzling large-scale sculptures and installations employ diverse materials—charcoal, ceramics, chrome, steel, onyx, wood, resin, and enamel—with an utterly immersive effect. Accompanying a retrospective of Fernández’s career, and including images of her most recent installation, this book captures the powerful nature of an artistic practice exploring issues of perception, geography, ecology, history, and society. Featured works include Fire, her haunting ongoing series on the conceptual phenomena of landscape; Autumn (…Nothing Personal), created as a participatory space at Harvard University; and As Above, So Below, a series of immersive, interconnected installations referencing alchemy and the cosmos.

Bilingual in English and Spanish.

The understated design of this book allows the quiet elegance of Wes Mills’ drawings to captivate viewers. High quality reproductions of forty-eight drawings made between 1994 and 2003 float in the center of muted white pages. The titles and dates of each piece, printed in a warm transparent gray, manage to both pick up some of the delicate tonalities in the drawings and to disappear altogether. A complete index of the drawings is included at the back and essays by Hipólito Rafael Chacón and Ann Wilson Lloyd discuss the work’s aesthetic and art historical significance. Mills’ marks require a fine sustained attention, the kind of attention that this exquisitely made monograph can’t help but cultivate in a reader.

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.

This large-format scrapbook, compiling Wendell Castle's press clippings, invitations and ephemera, records both his acclaim and neglect during the golden years of the studio movement.

This special-edition scrapbook offers a unique opportunity for readers to immerse themselves in the world of Wendell Castle, icon of the American studio furniture movement and the twentieth century’s preeminent expert in sculptural woodworking.

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.

Luke Abiol's project Winters Berlin is a series of large format photographs made over a period of seven years while living in Germany. These photographs look into the history that saturates Berlin's structures and streets.

Abiol is particularly interested in the layers of the city that - when peeled away - introduce the viewer to countless traces of Berlin's inhabitants. Stories are derived from space and histories are formed.

Luke Abiol was born in San Francisco, came of age in New York, started a family in Berlin and now finds himself back in San Francisco. Luke observes the traces that industry, war, nature and time have left upon our urban spaces–then leaves his own traces to be read by others.

This is a catalog of exhibition, The Three Prophets: Stanley Fisher, Sam Goodman and Boris Lurie. The exhibition will present work by the three founders of the NO!art movement. This will be the first exhibition in Los Angeles to include these three revolutionary artists together, with the majority of this work never having been shown in LA. The NO!art movement was founded in 1959 in New York City by Fisher, Goodman and Lurie as a reaction to the commercialization of the art market that was just picking up steam in relationship to Abstract Expressionism and Pop Art. Looking through the work of these three men, one is also impressed with their ability to express the pain and struggle of their lives. The approximate dates of the movement are 1959-1964. There were many artists involved with NO!, including John Fischer, Al D’Arcangelo, Gloria Graves, Wolf Vostell, Yayoi Kusama, Lil Piccard, Dorothy Gillepsie, Guenter Brus, Ferro, and Isser Aranovici (to name a few).

This exhibition catalogue focuses on the early days of Zap, when artists including Robert Crumb begat their visionary deconstruction of the comic book with remarkable innovations in storytelling and drawing. Zap was the cartoon extension of all the other social experiments and art forms feeding off each other at the time, including rock concerts, light shows, psychedelic posters and acid tests. The hippie readers may have come to the magazine for validation of their anti-war, anti-pollution, back-to-nature values, but Zap dared to critique and satirize the messy cultural and social work-in-progress as well – from the underground's canned and militant us versus them to the more troubling and existential are we them? – the satirical finger was now simultaneously pointed outward and inward, making the audience and authors legitimate targets.

Haunting and strangely provocative new installations by artist Gary Hill, celebrated worldwide in major museums and galleries, are introduced through a highly readable essay by two of the artist's long-time poet/artist collaborators. In a sort of lineup, seventeen day-workers, full-size, stare at you from the wall, eerily present by the magic of video-projection (Viewer). A solitary Native American stares you in the eyes, while he stares at himself from an adjacent wall-then the projections switch position: the watcher becomes the watched and the watched becomes the watcher (Standing Apart). This third in an ongoing series of the Quasha & Stein dialogue on Gary Hill is beautifully illustrated in full color to give a living sense of the actual installations.

The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist’s lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston’s breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of unforgettable images—a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist’s grandmother in the moody interior of their family’s Sumner, Mississippi home—The Outlands is emblematic of Eggleston’s dynamic, experimental practice. The breadth of work reenergizes his iconic landscapes and forms a new perspective of the American South in transition.

Accompanying the ninety brilliant Kodachrome images and details, a literary, fictional text by the critically acclaimed author Rachel Kushner imagines a story of hitchhikers trekking through the Deep South. New scholarship by Robert Slifkin reframes the art-historical significance of Eggleston’s oeuvre, proposing affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns, and Robert Smithson. A foreword by William Eggleston III offers important insights into the process of selecting and sequencing this series of images.

"Debbie Fleming Caffery’s (born 1948) images can be seen as articles of faith. The relentless insistence of subject and symbol in these images is assuredly their greatest strength. This vigor results from a tension that can be both visual and emotional. In this marshy no-man’s-land between description and illusion, her photographs serve as an able guide to truths that are better sensed than seen." ―John Lawrence

"The subject matter of Debbie Fleming Caffery’s new work shifts from the mysterious and hard life of the Louisiana sugar culture to that of foreign imagery. The style of her photography remains the same. Light is never allowed to blind us to the darkness of human existence and its inexorable limitations. But neither is darkness allowed to swallow the bitter sweet moments of disclosure. She has found the spiritual, together with its enemies." ―James R. Watson

Published on the occasion of the Focus Series exhibition Todo Cambia, The Museum of Contemporary Art, Los Angeles, October 5, 1997 – February 8, 1998.

Commissioned from the young Cuban artist Kcho, this large-scale installation (the title of which translates as "Everything Changes") had two components: a grouping of sculptures, including a barrel, a raft, an oar, a kayak, a surfboard and a small boat, resting on small tables formerly used in studio art classes at the Superior Institute of the Arts in Havana, and a room-size boat constructed from bookshelves found in open-air book markets throughout Havana, with shelves filled by the types of books that Cuban citizens read.

Between 1969 and 1973, Vito Acconci's creative output was focused on body pieces and performances, many of them seminal works now firmly lodged in the art historical canon of the time. Whether he was transforming space by masturbating under a platform extension of the gallery floor or transforming the body by tucking his genitals between his legs, Acconci promoted a radical, corporeal method of working with the human presence that has remained relevant in these less performative times. This publication traces the development of Acconci's early work through his own writings and documentations from that time. Rather than a critical study, it offers invaluable primary source materials: For each of the approximately 200 performances/works included, Acconci drafted meticulous notes, mapping out his ideas and describing the specifications of each piece. Many of the artist's works were ephemeral performances and actions, and these primary source materials are now the only extant artifacts from the work. Thus the book's contents come directly from Acconci's personal archives, and include his notes and documentations, plus photographs, where available. An introduction by Gregory Volk provides historical context and addresses the issues of body art and performance still relevant today.

Artists have always used their imaginations to see beyond visible matter—to posit other physics, other energies, new ways of conceiving the visible and new models for art but the past century has seen an explosion of such investigations. In the fashion of a Wunderkammer, The Quick and the Dead takes stock of the 1960s and 70s legacy of experimental, or research art by pioneers like George Brecht, who posited objects as motionless events and asked us to consider an art verging on the non-existent, dissolving into other dimensions, and Lygia Clark, whose foldable sculptures sought to dissolve the boundary between inside and outside, each a static moment within the cosmological dynamics from which we came and to which we are going.

In a series of encounters with art made strange by its expansions, contractions, inversions and implosions in time and space, The Quick and the Dead surveys more than 80 works by a global, multigenerational group of 50 artists, scientists and musicians — among them James Lee Byars, Joseph Beuys, Marcel Duchamp, Harold Edgerton, Ceal Floyer, Felix Gonzalez-Torres, Pierre Huyghe, The Institute for Figuring, Paul Ramirez Jonas, Stephen Kaltenbach, On Kawara, Christine Kozlov, David Lamelas, Louise Lawler, Paul Etienne Lincoln, Mark Manders, Kris Martin, Steve McQueen, Helen Mirra, Catherine Murphy, Bruce Nauman, Rivane Neuenschwander, Claes Oldenburg, Roman Ondák, Adrian Piper, Roman Signer and Shomei Tomatsu, among many others. Includes reprints of texts by diverse luminaries such as John McPhee, Jalal Toufic, Oliver Sacks, Allan Kaprow and Robert Smithson.

Ray Johnson (1927–1995) was a singular artist, for whom life and work were inextricably linked. Born in Detroit, Johnson attended Black Mountain College before moving to New York, where his work anticipated Pop art and he was active in early Fluxus circles. Best known for his collages and Mail art activities, including his New York Correspondence School, he operated fluidly in a wide range of modes. For Johnson, everything and everyone were potential material for his art—any form could become a space for artistic activity—and the form of the interview proved no exception.

That Was the Answer: Interviews with Ray Johnson brings together a selection of eleven interviews and conversations from 1963 to 1987 that offer unique access to Johnson’s distinctive thinking and working methods. These materials, which include exhibition ephemera, an oral history, radio transcripts, and magazine articles, are marked throughout by his humor and close attention to language. Gathering these exchanges for the first time, That Was the Answer serves as an exceptional introduction to Ray Johnson as well as a resource for those who are interested in gaining deeper insight into the artist and his kaleidoscopic body of work.

Julie J. Thomson is an independent scholar and curator based in Durham, North Carolina.

Since 2001, Swedish-born artist Nathalie Djurberg (born 1978) has honed a distinctive style of video animation. Set to music and sound effects by her collaborator Hans Berg, Djurberg's handcrafted cinematic tales explore revenge, lust, submission, gluttony and other primal emotions through the conventionally innocent technique of “Claymation,” which in her hands becomes a medium for nightmarish yet wry allegories of human behavior and social taboo. Increasingly, Djurberg's practice has blurred the cinematic and the sculptural in environments that integrate moving images and related set pieces. This publication accompanies the artist's largest presentation in an American museum to date. The catalogue weaves documentation of her sculptures and stills from her recent films with texts (both original and found) that trace the historical, scientific and literary threads running through her practice.

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

Ray Johnson (1927–1995) was a singular artist, for whom life and work were inextricably linked. Born in Detroit, Johnson attended Black Mountain College before moving to New York, where his work anticipated Pop art and he was active in early Fluxus circles. Best known for his collages and Mail art activities, including his New York Correspondence School, he operated fluidly in a wide range of modes. For Johnson, everything and everyone were potential material for his art—any form could become a space for artistic activity—and the form of the interview proved no exception.

That Was the Answer: Interviews with Ray Johnson brings together a selection of eleven interviews and conversations from 1963 to 1987 that offer unique access to Johnson’s distinctive thinking and working methods. These materials, which include exhibition ephemera, an oral history, radio transcripts, and magazine articles, are marked throughout by his humor and close attention to language. Gathering these exchanges for the first time, That Was the Answer serves as an exceptional introduction to Ray Johnson as well as a resource for those who are interested in gaining deeper insight into the artist and his kaleidoscopic body of work.

Writing by Artist is the first collection to focus on William Wegman’s lengthy and deeply funny relationship to language and is filled with previously unknown and wildly entertaining texts, drawings, and early photographs spanning the early 1970s to the present.

Not your standard book of essays, the publication was meticulously edited by Andrew Lampert to feature works incorporating words in one form or another. In some instances, the text is simply a caption or a few hand-written words, but all of the selected works hinge conceptually and pictorially on writing and language.

Writing by Artist offers a wide range of entry points into the artist’s universe. There are early photographic works, which may be familiar, but from there, things delightfully unravel with absurd non-sequiturs typed on Princess Cruises stationary, imagined restaurant reviews, witty annotations to a curator’s essay, musings on ancient footwear, deliberate mistranslations, reworked greeting cards, fictional advertisements for real life products, and other surprising prose forms.

Ultimately, Writing by Artists alters the logic and pushes the boundaries of what artist writing can be—shedding new light for those only familiar with Wegman’s later work, while serving as a welcome reminder of the artist’s madcap inventiveness for the already enlightened. In short, what you do or don’t know about William Wegman now conveniently fits into this strangely beguiling collection.

William Wegman was born in 1943 in Holyoke, Massachusetts. His work has been exhibited at museums and galleries internationally including retrospectives at the Whitney Museum of American Art, the Walker Art Center, the Wexner Center for the Arts, and the Centre Pompidou. Recent exhibitions include Before/On/After: William Wegman and California Conceptualism at the Metropolitan Museum of Art. Wegman has also created film and video works for Saturday Night Live, Nickelodeon, and Sesame Street and appeared on The Tonight Show, The David Letterman Show, and The Colbert Report.

Andrew Lampert is a New York-based artist, writer, archivist, and primary in the firm Chen & Lampert. His works have been internationally exhibited at venues including the Whitney Museum of American Art, New York Film Festival, Getty Museum, Toronto International Film Festival, and the International Film Festival Rotterdam, among many other venues. He has edited books on Tony Conrad, Manuel De Landa, George Kuchar, and Harry Smith. Lampert was formerly Curator of Collections at Anthology Film Archives, where he preserved hundreds of films and videos and co-programmed public screenings. His videos are distributed by Electronic Arts Intermix.

Catalogue from the installation on view June 1, 2015 through winter 2015-16 at Madison Square Park in New York City. "Mad. Sq. Art, the free, contemporary art program of Madison Square Park Conservancy, proudly presents Fata Morgana by New York-based artist Teresita Fernández, the Conservancy’s largest and most ambitious outdoor sculpture to date. The outdoor sculpture, which will consist of 500 running feet of golden, mirror-polished discs that create canopies above the pathways around the Park’s central Oval Lawn, will be on view in Madison Square Park beginning June 1, 2015. In nature, a Fata Morgana is a horizontal mirage that forms across the horizon line. Alluding to this phenomenon, Fernández’s project introduces a shimmering horizontal element to the Park that will engage visitors in a dynamic experience.

The installation is a mirror-polished, golden metal sculpture that will hover above the Park’s winding walkways to define a luminous experiential passage for Park visitors. The metal forms, perforated with intricate patterns reminiscent of foliage, will create abstract flickering effects as sunlight filters through the canopy, casting a golden glow across the expanse of the work, paths, and passersby. The project is Mad. Sq. Art’s first to fully utilize the upper register of a visitor’s space. Teresita Fernández (American, b. 1968), a 2005 MacArthur Fellow, is best known for her prominent public sculptures and unconventional use of materials. Her work is characterized by an interest in perception and the psychology of looking. Her experiential, large-scale works are often inspired by landscape and natural phenomena as well as diverse historical and cultural references.

Using painting, drawing, and abstraction as markers of a space outside verbal description, Jessica Dickinson examines the slow exchanges between perception, matter, and psychology that develop in peripheral spaces. Each of her works is developed slowly, meditatively, through procedures that work toward a compressed measure of time that echoes the shifts in what is seen, both inwardly and outwardly.

Under | Press. | With-This | Hold- | Of-Also | Of/How | Of-More | Of:Know presents eight paintings and their “remainders”—graphite rubbings made of the paintings. Every time the surface of the paintings changes significantly, a graphite impression is made to transcribe the surface. These works in turn map the transitive passages of the paintings, becoming their indexes, unfolding time in a sequence while asserting the materiality of the paintings.

Published in conjunction with an exhibition at James Fuentes Gallery, New York, the book's 46 color and 107 b&w reproductions are accompanied by an essay by curator Debra Singer and an interview with the artist by Patricia Treib.