Explores works by Marcel Storr, the self-taught French artist whose unusual, painstakingly rendered drawings of churches and futuristic fantasy worlds have been shown only a few times in Europe since their discovery in the 1970s.

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.

On the occasion of the exhibition Sally Alatalo: Narrative in Revision Printed Matter has published An Arranged Affair, a new work by Alatalo, with a foreword by Hannah B Higgins.

With this project, Alatalo has resituated her earlier work A Rearranged Affair, a re-collation of a series of romance novels, with renewed attention to the literary possibilities and revelations of the texts in a more consciously narrative revision. Meticulously selected and connected by Alatalo, the character names and specific storylines are continually traded out, but the arc of the action is familiar and the narrative carries on convincingly.

Calla Henkel and Max Pitegoff: German Theater 2010–2022 is the first monograph on the work of the artist duo Calla Henkel (b. 1988, Minneapolis, MN) and Max Pitegoff (b. 1987, Buffalo, NY). Their manifold practices play out, live test, and fictionalize the mechanisms that shape creative communities. Chronicling over a decade of production in Berlin, the book is organized around the influential bar and theater spaces they ran there: Times Bar (2011–12), New Theater (2013–15), Grüner Salon at the Volksbühne (2017–18), and TV Bar (2019–22), and includes an interview with curator Fabrice Stroun and essays by David Bussel and Patrick Armstrong. Henkel and Pitegoff's photographs, plays, writing, and films address the complexity of collective action, painting a deadpan picture of the social and economic systems that sustain communal exchanges and their eminently fragile autonomy.

Slides of a Changing Painting is a new artist book by Robert Gober that takes as its point of departure the artist’s highly influential, yet rarely seen, early work of the same name—a slide presentation documenting a year-long evolution of a single painting. Presented at Paula Cooper Gallery in 1984 with three projectors and eighty-nine slides, the work showcased themes and subjects that would become central to Gober’s oeuvre and in hindsight, has come to be seen as a career-spanning lexicon for the artist’s practice. This artist book has been designed to replicate the experience of the original installation, with eighty-nine images dissolving into each other over the course of 368 pages, creating what Gober has referred to as the “memoir of a painting.” This is the first time that Slides of a Changing Painting has been showcased in its entirety in book form.

From 1982–83, Gober worked on Slides of a Changing Painting in his East 7th Street storefront, documenting the process as he repeatedly painted on a single Masonite board, reworking imagery or else starting over entirely. Motifs that would become important to his later sculptures and installations make their first appearances here, such as drains, pipes, flowing water, forests, lost garments, sinks, windows, and bare chests pierced with trees and waterfalls. His treatment of the human body here lays the groundwork for some of his most uncanny and surrealistic works. Made against the backdrop of cultural conservatism and an unchecked health epidemic that was rampant in the 1980s, Slides of a Changing Painting contains a bewildering mixture of dread and hope, with Gober’s queer identity and artistic sensibilities coming into remarkable focus—demonstrating a sense of vision that few artists have so early in their careers.

Robert Gober is an artist and sometime curator whose work has been exhibited since the early 1980s most notably in one person exhibitions at the Dia Art Foundation, New York, The Museum of Contemporary Art, Los Angeles, Walker Art Center, Minneapolis, Schaulager, Basel, The Museum of Modern Art, New York, Fondazione Prada, Milan, Glenstone, Potomac and the Serpentine, London. He represented the United States at the Venice Biennale in 2001. His curatorial projects have been shown at The Menil Collection, Houston, The Institute of Contemporary Art, Boston, Hammer Museum, Los Angeles, and Whitney Museum of American Art, New York. He lives and works in New York and Maine.

Nari Ward’s dramatic sculptural installations are composed of material systematically collected from the neighborhoods where he lives and works or is personally connected to. By revealing the complex emotional registers inherent within everyday found objects, Ward’s work examines issues of race, poverty, and consumer culture and the inherent meaning and gravity we place upon objects from the discarded to the treasured.

Art that reimagines new frameworks for the history of science where sex, gender and pleasure are concerned

This volume, co-edited by Jennifer Doyle and Jeanne Vaccaro, considers the work of contemporary feminist and queer artists whose work confronts, dissolves and reimagines sex and gender within the apparatus of science―past and present. The included artists address topics such as the origins of modern gynecology and its ties to the torture of enslaved women; the pathologization of the sexual body; the entanglement of colonization with sexual violence; and nonconsensual gendering of trans and intersex people.

Addressing the aftermath of our encounters with scientific discourses and institutions, Scientia Sexualis engages the materials of the clinic, the lab and the biomatter of sex and race; challenges our sense of what science is; confronts harm produced in the name of science; and offers alternative methods of learning. This richly illustrated publication accompanies a fall 2024 exhibition at the ICA LA.

The Block Museum will present an exhibition of newly commissioned work by the internationally acclaimed French-Algerian artist Kader Attia (b. 1970), based in part on the artist’s research in the collections of Northwestern University’s Herskovits Library of African Studies and interviews with university faculty across disciplines. Conceived as an installation, the exhibition will feature collage, a sculpture, and an extended film-essay. Taken as a whole, the works will expand on Attia’s long-term exploration of trauma and repair, both of the body and of society, and will probe the legacies of colonialism, slavery, and xenophobia in our time.

Kader Attia grew up moving between Algeria and the suburbs of Paris, and uses this experience of living as a part of two cultures as a starting point to develop a dynamic practice that confronts cultural differences. His debut solo exhibition was held in 1996 in the Republic of Congo, and since then his artistic career has gained major international recognition, with inclusion in exhibitions such as the 50th Venice Biennale (2003), dOCUMENTA13 (2012), the 8th Lyon Biennial (2015), the 5th Marrakech Biennial (2016), and Dak'Art 2016. Attia has recently exhibited in major shows at the Museum of Modern Art, the Centre Pompidou, the Tate Modern, and the Guggenheim Museum. In 2016 he was awarded the Marcel Duchamp Prize, among France’s most prestigious arts award, and his solo exhibition Sacrifice and Harmony, at the Museum für Moderne Kunst, Frankfurt, was named German exhibition of the year by the International Association of Art Critics (AICA).

Sanford Biggers (b. 1970) is a Harlem-based artist working in various media including painting, sculpture, video, and performance. He describes his practice as “code-switching”—mixing disparate elements to create layers of meaning—to account for his wide-ranging interests. This catalogue focuses on a series of repurposed quilts (many made in the 19th century) that embodies this interest in mixture. Informed by the significance of quilts to the Underground Railroad, Biggers transforms the quilts into new works using materials such as paint, tar, glitter, and charcoal to add his own layers of codes, whether they be historical, political, or purely artistic. Insightful essays survey Biggers’ career, his art in relation to music, and the history upon which the series draws. Also featured is a short yet powerful graphic essay by an award-winning illustrator that introduces the layered meanings inherent in the art and craft of quilting.

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.

For Mail, artist Mungo Thomson (b. 1969, Davis, CA) asked The Hammer Museum in Los Angeles to redirect all their incoming mail to the galleries, where it would accumulate unopened during the run of the 2018 exhibition, Stories for Almost Everyone. Over the course of the 4-month show, a massive pile of correspondence and packages grew. Part sculpture, part institutional critique, and part timepiece, Thomson’s Mail produced a temporary archive of institutional correspondence. At the conclusion of the show, Thomson documented this archive by photographing every item in the pile. These photographs are collected in this new book.

The design of the book loosely mimics a common shipping product catalog, over 30 of which were in the mail pile. Thomson’s photography of the items in the mail pile at the Hammer was undertaken with this catalog design in mind. Every letter, package, notice, magazine, flyer, restaurant menu, exhibition postcard, vendor catalog, artist contribution and piece of junk mail is represented in the book. Further, collections of like things have been arranged and photographed on a seamless backdrop in the style of product photography for a vendor catalog.

The book functions both as an artwork and as an elaborate and exhaustive documentation of the work as realized by the artist. Featuring an essay by Hammer Museum curator Aram Moshayedi, Mail performs a kind of autopsy of the sculpture, displaying every facet and revealing the infrastructure of both the artwork and the museum.

Aleksandra Mir’s oversized booklet is a modern, west coast take on Harold Rosenberg’s “Tenth Street: A Geography of Modern Art” published in Art News Annual by the Art Foundation Press in 1959. Mir’s version reads almost like an art school brochure, designed to give perspective students a glimpse at what “residential life” is like in the Southern Californian art scene. Photographs by Justin Beal document the bar scene, dinners, lectures, dance workshops, openings, and events where art appears as background scenery against which an international group of artists and students mingle.

Magnum’s publication, Conventional Photography, is a unique document of the 2012 Presidential campaign, and the American political process itself.

Drawn exclusively from the work done by Magnum photographer Richard Kalvar at last year’s Democratic and Republican National Conventions — some of which was prominently featured on Slate during the convention season — Conventional Photography captures the peculiar pageantry and theater of American politics, in all its glory and absurdity.

Kalvar has long proven himself suited to capture the social patterns, humanity, and gentle incongruities that lurk whenever earthlings – the title of his previous book – gather and interact. In the American political process, Kalvar’s lens and sensibility find what’s perhaps his ultimate subject. As with all of his work, Kalvar’s attention frequently focuses more on the everyday moments and average participants in life and events, and not merely the celebrities and what’s happening on the biggest stages.

Printed on deluxe glossy magazine stock, capped with a tart and perceptive introductory essay written by The Guardian’s US political columnist Ana Marie Cox, Conventional Photography proves Kalvar one of the keenest and most generous documentarians of the strangeness and beauty that occurs wherever humans convene.

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.

In Numbers is the first volume to address an overlooked art form that is neither artist's book nor ephemera, but is entirely its own unique entity: the artist's serial publication. Across such groundswell moments as the small press boom of the 1960s, the correspondence art movement of the early 1970s and the DIY zine culture of the 1980s and early 1990s, artists have seized on magazine and postcard formats as forms in themselves. These are not publications that print criticism, manifestos or reproductions of artworks; rather, they are themselves artworks, in large part factured by younger artists operating at the peripheries of mainstream art cultures, or by established artists looking for an alternative to the marketplace. Dating from 1955 to the present, In Numbers begins with Wallace Berman's Semina and continues through Joe Brainard's C Comics, Situationist Times, Eleanor Antin's 100 Boots, File, Robert Heinecken's modified periodicals, theJapanese group Provoke's magazine, Ian Hamilton Finlay's Poor.Old.Tired.Horse, Fluxus, Art-Language, Raymond Pettibon's Tripping Corpse, Maurizio Cattelan's Permanent Food and contemporary examples such as North Drive Press, LTTR and Continuous Project. (Approximately 60 publications in total are surveyed.) Documenting the history of each publication―its inception, production, distribution and impact―together with a fully illustrated bibliography for each title, In Numbers is embellished with essays by Clive Phillpot, Nancy Princenthal, William S. Wilson and Neville Wakefield. An illustrated conversation between Collier Schorr and Gil Blank provides an overview.

With work by Vito Acconci and Bernadette Mayer, Hans-Peter Feldman, Eleanor Antin, K. Baumgartner, C. Hoeller, J. Schroeder and D. Castro, Terence Koh, Buster Cleveland, Art & Language, Frank Gaard and the Art Police, Futzie Nutzle, Spinny Walker and henry humble, BANK, Ray Johnson, Joe Brainard, Continuous Project, Stephen Willats, Les Levine, Wolf Vostell, Edgardo Antonio Vigo, Adam Dant, Josephine Meckseper, General Idea, George Maciunas, Martha Rosler, Dieter Roth, Bruce LaBruceand G.B. Jones, Barbara Ess, Scott Hug, Daido Moriyama, R. Bertholo, Christo, L. Castro and J. Voss, William Leavitt and Bas Jan Ader, Gilbert and George, Aleksandra Mir, LTTR, Patricia Tavenner, Daniel Spoerri, Maurizio Nannucci, Matt Keegan and S.G. Rafferty, Herman de Vries, Tom Sachs, Uschi Huber and Jorg Paul Janka, Robert Heinecken, Maurizio Cattelan and Paolo Manfrin, Ian Hamilton Finlay, Provoke Group, Lisa Anne Auerbach, Guenter Brus, Wallace Berman, Jacqueline de Jong, Matthias Hermann, Christian Hunt, Scott Treleaven, Roni Horn, Raymond Pettibon, Anna Banana and William Gagilone, Tom Marioni, and Nobuyoshi Araki.

An archival collection of Camil’s conceptual art and installations, incorporating themes of commerce, textile production and Latin American politics

This is the first monograph dedicated to the practice of Mexican artist Pia Camil (born 1980). The book combines formal institutional documentation with material from the artist’s personal archive to feature 32 projects from 2006 to date. Camil’s work engages in a revisionist formal exercise that rethinks canonical figures in Western Art from a Latin American female perspective, while also setting her art within the socio-political realities of Mexico and the United States. The book was designed in collaboration between the artist and Mexican designer Sofia Broid and includes an addendum by Gabriela Jauregui. Three illustrated essays, as well as an interview with the artist, delve into Camil’s practice. With English and Spanish texts, this book makes Camil’s important contribution to feminist and Latin American artistic practices in the context of late capitalism accessible to a wider audience.

I Am Abandoned documents a little-known, but visionary performance by Barbara T. Smith. Taking place in 1976, it featured a conversation in real time between two psychoanalytic computer programs (known today as two of the earliest chatbots) alongside a staging of Francisco Goya’s The Naked Maja (1795–1800) and The Clothed Maja (1800–1807), in which the artist projected an image of the famous painting on top of a female model. The publication includes a full transcript of the “conversation” between the two programs; documentation and ephemera from the performance; Smith’s reflections on the night; and an afterword by scholar and artist Mashinka Firunts Hakopian.

I Am Abandoned was part of the exhibition The Many Arts and Sciences at the California Institute of Technology (Caltech) and rather than simply celebrate new technology, Smith also sought to challenge what she saw as a “built-in problem” that “computers were only a new example of the male hypnosis.” In collaboration with computer scientist Dick Rubinstein, she enlisted the computer science teams at Caltech and the Massachusetts Institute of Technology to mount a conversation between a program named DOCTOR, which was designed to be a surrogate therapist, and another named PARRY, which was trained to mimic a paranoid schizophrenic patient.

While the computer operator worked in the next room, each new page of the conversation was projected on the wall where a model dressed as The Clothed Maja reclined beneath the text, with a slide of the nude version of the same painting, The Naked Maja, projected onto her. The audience was rapt with attention for the livestreamed conversation. The performance went on for nearly two hours, before the model eventually grew furious from being ignored (abandoned) by the computer operator, stormed over, and attempted to seduce him. Shortly after, the gallery director pulled the plug on the entire event, claiming it distracted the audience for too long from the other works on view.

To revisit I Am Abandoned today is to see the artistic and truly liberatory potential that art can have when it intervenes in new technologies. Much like the original performance, in which the model grew alienated from the proceedings, what gradually emerges are the stakes these new technologies present. Against today’s backdrop of AI and a still male-dominated tech field, Smith’s early work with emerging technologies, and in this case chatbots, is prophetic and hints at the contemporary conversation around the gendered and racialized machinic biases of our current computational landscape. Though Smith, like many women of her generation, was overlooked by the landmark surveys of art and technology during the 1960s and 70s, her career incisively probed new technologies, using them to question gender dynamics, community, and self. Her projects from the Coffin books (1966–67), created with a 914 Xerox copier in her dining room, to performances like Outside Chance (1975), which created a small snow squall in Las Vegas out of 3,000 unique, computer-generated snowflakes, and the interactive Field Piece (1971), where participants’ movements altered the soundscape of a fiberglass forest, all exemplify her open-ended approach to art and tech. “Each person lit their own way,” Smith remembers, “And produced their own soundtrack.”

Barbara T. Smith is an important figure in the history of feminist and performance art in Southern California. Her work—which spans media and often involves her own body—explores themes of sexuality, traditional gender roles, physical and spiritual sustenance, technology, communication, love, and death. Smith received a BA from Pomona College in 1953, and an MFA in 1971 from the University of California, Irvine. There she met fellow artists Chris Burden and Nancy Buchanan, with whom she co-founded F-Space in Santa Ana, the experimental art space where many of her performances were staged. Smith’s work has been exhibited since the 1960s in solo exhibitions, at the Institute of Contemporary Art, Los Angeles (2024), the Getty Research Institute, Los Angeles (2023), and Pomona College Museum of Art (2005), and featured in group exhibitions, including how we are in time and space: Nancy Buchanan, Marcia Hafif, Barbara T. Smith, Armory Center for the Arts, Pasadena (2022), State of Mind: New California Art Circa 1970, Orange County Museum of Art, Santa Ana (2012); WACK! Art and the Feminist Revolution, Museum of Contemporary Art, Los Angeles (2007); and Out of Actions: Between Performance and the Object, 1949–1979, Museum of Contemporary Art, Los Angeles (1998). Smith is the recipient of the Nelbert Chouinard Award (2020), Civitella Ranieri Visual Arts Fellowship, Umbria, Italy (2014); Durfee Foundation’s Artists’ Resource for Completion (2005, 2009); Women’s Caucus for Art, Lifetime Achievement Award (1999); and several National Endowment for the Arts Grants (1973, 1974, 1979, 1985). The Getty Research Institute acquired Smith’s archive in 2014 and published her memoir, The Way to Be, in 2023. Her survey catalog, Proof: Barbara T. Smith was published by the Institute of Contemporary Art, Los Angeles in 2024.

Presented in a more compact, 200 page perfect-bound format, this 2004 version extends the novel’s eleven original chapters to fourteen.

Contributions from Rita McBride, Laura Cottingham, Nick Crowe, Matthew Licht, Alexandre Melo and more form a collaborative portrait of a future not that unfamiliar from the present. Positing artists as individuals with “time-traveling” or “shapeshifting” capabilities, the texts engage with a modernist “art of the future” approach to imagine a tumbling, unsettling destiny permeated by extremes and preoccupied with the past.

In 2012, the Eastman Kodak Company, in Rochester, New York, declared bankruptcy. That same year, ten Magnum photographers–Chien-Chi Chang, Jim Goldberg, Bruce Gilden, Susan Meiselas, Martin Parr, Paulo Pellegrin, Alessandra Sanguinetti, Alec Soth, Larry Towell and Donovan Wylie–established a temporary base in Rochester. Over nearly three weeks, they worked with residents and Rochester’s photographic community…

In 2006, Hamish Fulton made a sixteen day walk in the world's first designated wildernes, the Gila National forest in Southwestern New Mexico. "Gernimo Homeland" is the record of this walk, offering a rare glimpse into Fulton's thoughts on art, nature and the meaning of environmental activism.

Printer Prosthetic: Futura is conceived as an “experimental reprint” of artist, publisher, and printer Hansjörg Mayer’s seminal Futura (1965–1968), a series of twenty-six artworks each published as a folded, single-page pamphlet. Using this collection of Concrete and Fluxus works as a starting point, Printer Prosthetic: Futura re-interprets the poems by means of mechanical mediation, outputting the originals through a set of controlled and chance operations.

The artists worked with industrial designer Siyao Zhu, producing a custom 3D-printed “prosthetic” device which allowed them to manipulate the encoder strip of a desktop printer. The individual poems of the Futura pamphlets were run through a HP DeskJet 1112 while the artists interfered with the rhythm of the printhead by adjusting the track on which it moves. Via programmed sequences made using Arduino, an open-source electronic prototyping platform, a physical arm would work in conjunction with the printer to generate the printed works. The resulting work is a set of new, altered text pieces that are conceptually distinct from the original while still bearing a formal similarity.

The project presents a number of interesting considerations, providing a meditation on the nature of Concrete Poetry and exploring the ability of language to deliver meaning at the boundaries of intentionality when text is pushed over into object or image, where does that transferal of meaning take place as one level of abstraction is compounded into another.

The publication is produced in two parts. The first section is comprised of an instructional manual for both recreating the prosthetic and modding a desktop printer, and indexes the parameters of the re-printing process. An essay by Roxana Fabius offers a history of Mayer’s series and positions this new project in relationship to that work. The second part includes the outcomes of the reprinting process.

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.

Reusable Universes serves as an instruction manual to the immersive and kinetic art of Shih Chieh Huang. In addition to drawings, photographs, and installation images from the exhibition Reusable Universes: Shih Chieh Huang at the Worcester Art Museum, the catalogue includes an essay by Vivian Li and interview with the artist by Aida Yuen Wong that expands on how nature, technology, and everyday materials inspire Huang's artistic practice.

This catalogue, the first monographic publication on the artist, is released on the occasion of Huang’s largest U.S. solo show to date.

What is it about hands? We think we communicate with words, but has anyone ever told that to an Italian? Where did the expression "tongue-tied" come from? No one ever tied a tongue. But tie their hands and about half the world's communicators would be silenced. The human (and sometimes non-human) hands are, with the possible exception of the eyes, the most expressive parts of the body, asking for more or less, telling us to come or to go, asking questions and answering them, scolding, rewarding, searching and finding, and, at their most intimate, loving and lustful. Hands reward us, calm us, feed us, and scratch our backs. They intimidate, bless, encourage, and stop us. They soothe, caress, and sometimes go where they shouldn't. We may take hands for granted. But Elliott Erwitt does not. Here is Erwitt at his most serious-and-yet-whimsical best, giving us the moments which, without hands, would not exist.

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

The book provides an historico-exemplary account of EDITING and/or THE EDITOR as a profession, activity and term. What happened (is happening) to the editor? (that sensitive visionary literary-journalistic figure of the last century). And, come to think of it, Where did the editor come from? This book traces the act of EDITING from Liu Xiang to Miranda Priestly with found texts and other visual forms.

Beginning and ending at the edge of the ocean at the sacred mouth of the Aconcagua River, About to Happen serves as a lament as well as love letter to the sea. In this artist’s book, Chilean-born artist and poet Cecilia Vicuña weaves personal and ancestral memory while summoning the collective power to confront the economic disparities and environmental crises of the 21^st century.

Collecting the detritus that washes up on shore, Vicuña assembles out of the refuse tiny precarios and basuritas—little sculptures held together with nothing more than string and wire, which she sometimes makes as offerings to be reclaimed by the sea. These acts of creation and erasure mirror the ways in which her work inhabits and enlivens the liminal spaces between the remembered and forgotten, the revered and the discarded, the material and the dematerialized.

About to Happen traces a decades-long practice that has refused categorical distinctions and thrived within the confluences of conceptual art, land art, feminist art, performance and poetry. Vicuña’s nuanced visual poetics—operating fluidly between concept and craft, text and textile—transforms the discarded into the elemental, paying acute attention to the displaced, the marginalized and the forgotten.

Stay away from nothing shines a spotlight on the deep relationship between Paul Thek and Peter Hujar through the artists’ letters and photographs. Beginning in 1956 and spanning two decades, the publication opens a window into their intimate, complex, and beautiful lives, starting with a sequence of images by Hujar that showcases the two of them in innocent moments of pensive and haunting play in Coral Gables and beyond.

These early portraits of their budding relationship are followed by several playful postcards from Thek in 1960 and his first letter to Hujar in 1962, written while the artist is in the Philadelphia harbor aboard a containership bound for Europe. In the letter, Thek is brimming with joy and new discoveries and exclaims that the world “seems bigger and more gloriously strange than ever before in my entire life.” The two eventually meet in Rome, where they both begin to evolve into the icons we know them as today, and the remaining letters trace Thek’s travels and adventures, romantic dalliances, work, and financial ups and downs through 1975. More than fifty letters and postcards, along with drawings and other ephemera, are reproduced in Stay away from nothing and their poetic, quotidian, and melancholic tone provide a rare glimpse into Thek and Hujar’s relationship as it wavers with seduction, glamor, tumult, and mischievousness.

Throughout this period, Hujar was photographing Thek in his now-iconic style, capturing him in Italy, in various studios, and on the beaches of Fire Island. Included are the artist’s classic images of Thek in the catacombs in Palermo, as well as his studio portraits of the artist creating The Tomb. Among these well-known works are dozens of other photographs, many unpublished until now, including candid portraits of Thek, as well as images of the two artists goofing around or posing for passport photos. Collectively, these images demonstrate not only the complex emotional interiority of Thek but the tender, dark, and hopeful connection between the two artists, lovers, and friends.

An afterword is provided by Andrew Durbin, author of A Wonderful World that Almost Was, a biography of Peter Hujar and Paul Thek.

Paul Thek is among the most legendary and elusive artists of the post-1960s generation. He burst onto the New York scene with his Technological Reliquaries series, then known as “meat pieces,” which challenged Pop and Minimalism with an idiosyncratic approach that merged earnest posthuman embodiment and a critique of contemporary art trends. In Europe in the 1970s, he created new modes of exhibition-making that involved the creation of elaborate, ephemeral installations composed of sand, candles, newspaper, chicken-wire, Polaroids, and discarded furniture. Upon returning to New York in the later years of his career, he produced his deliberately “bad paintings” while continuing his longest-running series of paintings executed on newspaper, works that poignantly underscore his sustained engagement with themes of ephemerality and the passage of time. Thek died of AIDS in 1988.

Peter Hujar died of AIDS in 1987, leaving behind a complex and profound body of photographs. Hujar was a leading figure in the group of artists, musicians, writers, and performers at the forefront of the cultural scene in downtown New York in the 1970s and early 80s, and he was enormously admired for his completely uncompromising attitude towards work and life. He was a consummate technician, and his portraits of people, animals, and landscapes, with their exquisite black-and-white tonalities, were extremely influential. Highly emotional yet stripped of excess, Hujar’s photographs are always beautiful, although rarely in a conventional way. His extraordinary first book, Portraits in Life and Death, with an introduction by Susan Sontag, was published in 1976, but his “difficult” personality and refusal to pander to the marketplace ensured that it was one of the last publications during his lifetime.

Magnum’s archives are a repository of the masterpieces of photography for the past half-century. From the grandly historic to the poignantly human, from battlefield violence to the gentle pleasures of peace, “In Our Time” captures the past fifty years of the world in over three hundred memorable photographs.

As the distinguished historian William Manchester explains in his provocative text that accompanies the images, the book is a distinctive blend of reporting and art that inevitably engages the heart and mind of the viewer. Each picture is a comment upon our experience of the twentieth century. Not since the landmark photographic exhibition “The Family of Man” have so many brilliant photographs documented such a range of human experience and so subtle a marriage of technical proficiency and moral commitment.

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

Originally published in 1978, The Harlem Book of the Dead is a haunting and beautiful document of Black funerary traditions in Harlem, which captures the community’s mourning rituals through the lens of one of the Harlem Renaissance’s most celebrated photographers. These portraits are complimented and captioned by poems from Owen Dodson; a wide-ranging interview with Van Der Zee by the sculptor and filmmaker Camille Billops, who conceptualized and edited the publication; and a foreword by acclaimed writer Toni Morrison. Rounding out this new edition is an afterword by Karla FC Holloway, author of Passed On (2001).

The publication is the most complete record of Van Der Zee’s funerary photographs, featuring over three dozen portraits by the artist, who meticulously composed the setting and subjects before using his renowned dark room and retouching skills to superimpose celestial figures, poetry, biblical scenes, or portraits onto the images to compensate for lack of adornments, such as flowers, or to fulfill the requests of his subjects or their families. Billops recognized the singular value in these portraits and collected them for the first time here, choosing to pair them with Dodson’s words to replicate a pairing of “death’s oldest companions—the portrait artist and the poet.” Further, her introduction and interview provide a valuable service in detailing the history of Van Der Zee’s life and work, his compositional decisions in the portraits, and the lives of his subjects and the circumstances of their passing.

During his lifetime, Van Der Zee was primarily known as a studio photographer, with an active portrait practice dating from 1916 to his death in 1983. His work took off between the World Wars and he is largely responsible for providing a visual record of the emergent Black middle class in the early twentieth century, capturing weddings, funerals, parades, sports clubs, community groups, and infantrymen (such as the Harlem Hellfighters). Over the years, understanding of Van Der Zee’s work—which was imbued from the start with creative technical mastery—has evolved and he is no longer seen as a mere documentarian but rather a visionary artist who amplified the beauty of the life and community around him.

Born in Philadelphia, Albert Hoffman (1915 – 1993) had a formal education that extended to the 8th grade, when it was cut short by the pressures of the Great Depression. He joined the Navy just after the attack on Pearl Harbor and was wounded in action. After the war he returned east to Atlantic City, settling in nearby Absecon where he went into the junk business. Shortly thereafter, Hoffman began to spend increasing amounts of his time carving simple reliefs

Eight of the world’s leading photojournalists, all Magnum photographers, follow 30 individuals in nine countries before and four months after they begin antiretroviral treatment, documenting the transformative effect on their bodies, lives and families. Photographers include Bendiksen, Goldberg, Majoli, McCurry, Pellegrin, Peress, Reed and Towell.

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.

An accordion fold-out book based on ed Ruscha’s famous Every Building on the Sunset Strip. However, the photos inside are of structures built out of multiple copies of another famous artist’s book, Psychobuildings by Martin Kippenburger.

In this collection of recent, never-before-shown works, we see Carroll Dunham thinking about sculpture through a series of drawings produced over the course of a year. A sampling of Dunham’s drawings across time offers a chart of his artistic evolution; the drawings presented here are distinctive to a new page within that history. Spurred by curiosity about the forms that he found himself doodling along the edges of a new group of paintings in 2023, Dunham began drawing fantasies of sculpture as a break from working on the paintings. The eighty drawings collected here offer intimate access to an artist’s process, tracing the emergence of a sculptural vocabulary as they explore spatial relationships, materials, and presentation for sculptures that don’t exist. A text by Dunham accompanies the drawings.

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.

A new publication comprised of book and record, September Spring documents a project of the same name held at The Kitchen from September 10th - October 10th, 2015 - curated by Lumi Tan. The month-long performance intertwined dance, music, and painting, and explored the recordings and influence of Jamie Kanzler, who in 2013 unexpectedly passed away at the age of 24. Kanzler, whom Falls has referred to as his godbrother, performed music as Oldd News and wrote poetry under the pen name September Spring.

September Spring encompasses photographic documentation of the performance at The Kitchen as well as the resulting paintings, and is accompanied by a vinyl pressing of Oldd News’ self-titled EP. The publication includes texts about the performance from Lumi Tan and meditations on Kanzler by Sam Falls, Jenn Pelly and Trip Warner, who reflect on his ignited spirit and shine a light on his creative process as both poet and musician.

The performance of “September Spring” synthesized a multitude of components and as Falls muses, “of color and darkness, of music, art, and dance, of life and death.” Its origins can be traced to a series of paintings produced by Falls in the immediate aftermath of Kanzler’s passing, a period during which he created twenty-four canvases to honor each year of his life.

At The Kitchen, Falls collaborated with Hart of Gold, dancers Jessie Gold and Elizabeth Hart, who moved in methodic pattern atop a number of arranged rugs, their synchronized gestures mimicking the path of a needle along a vinyl record and corresponding in time with tracks from the Oldd News EP. Their meticulous movements intersected with orderly dabs of paint, the result being a new collection of twenty-five paintings - a visual record of Kanzler’s influence on both sound and body. Each choreographed shift elegantly embodied the contradictory notion that while a painted circle marked progress with a finite end product, a circle by definition has neither a beginning nor end, alluding to the idea that while life has a physical start and finish, a person - their influence, memory and legacy - exists beyond the point of death. Each morning the rugs were hung in the The Kitchen from the previous day, accumulating on display for the duration of the piece.

The Oldd News EP was completed in the summer of 2013, recorded in New Orleans, Louisiana just prior to the loss of Kanzler. The original pressing featured album art by Falls and was released by WharfCat Records, founded by September Spring contributor Trip Warner. Recorded directly into an overdriven computer microphone, the 6 tracks on The Oldd News EP run seventeen minutes in length and feature Kanzler’s emotionally bare lyrics and distorted acoustic guitars.

September Spring could be considered to have acted as a transformative process for both Falls and it’s viewers, those who were affected by Kanzler’s friendship and creative outputs. His death may be embraced as the departure point for an evocative project which concurrently bridged the unknowns of morality. As curator Lumi Tan notions, “to deal with death, we often need to believe in something else as foreign and unimaginable as losing someone you’ve shared a life with.”

The culmination of Kanzler’s extensive influence in this publication pays homage to notions of a continuing presence, of light in dark and energy found in despair - the metamorphosis of grief into creation.

September Spring is designed by The Uses of Literacy and printed by The Schulman Group at Shapco Printing, Minneapolis. The offset printed book is 84 pages and measures 11.85” x 11.85” with six spot colors. This signed and numbered edition of 220 is nested inside a gatefold album cover with a engraved 12” record and a printed vinyl sleeve.

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.

On a high summer afternoon in 1995, artist and documentarian Judith McWillie (b. 1946) brought her Sony camcorder to Beverly Buchanan’s home studio in Athens, Georgia, and recorded a two-hour video of their spirited exchange. Buchanan (1940–2015), whose multidisciplinary practice drew from Black Southern geography, traditions, and forms, had just opened a sixteen-year mid-career retrospective, and was actively developing new “shack” sculptures for multiple upcoming exhibits. Filmed in the cinema verité tradition, McWillie’s distinctly immersive recording follows the two Southern artists as they move through the densely layered space of Buchanan’s house and garden in conversation. The resulting unedited video offers an extraordinary portrait of both artists, singular in its situatedness and relationality.

Beverly Buchanan, Athens, GA, 8 July 1995 translates and poetically interprets McWillie’s intimate primary document through an edited transcription, broken up into scenes, illustrated with video stills, and annotated with contextual information. An introductory essay by Katz Tepper reflects on the enduring impact of the Black vernacular architect Mary Lou Furcron on both artists and their converging efforts to trouble dominant hierarchies. Companion materials feature reproductions and transcribed texts from Buchanan’s and McWillie’s multidisciplinary tributes to Furcron, illuminating the role of the camera in their practices of remembrance, reverence, and refusal.

Soon after the German invasion of the Soviet Union in June of 1941, the Okna TASS studio spontaneously formed in Moscow. Comprised of renowned artists, poets and literary figures, the new consortium would oversee production of a powerful, extreme form of visual expression to urge Soviet citizens to fight on and ultimately do the nearly impossible - change the course of the war, the course of history.

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

An account of the life and work of a once-famous self-taught American artist of the 1940s, and a study of how artists go missing from public memory.

The exhibition “Morris Hirshfield Rediscovered” at the American Folk Art Museum in New York City, curated by the author and developed as an extension of the book, is on view from September 22, 2022 to January 27, 2023.

A garment worker and slipper manufacturer with no training in art, Morris Hirshfield was never expected to make history. Against all odds, his wildly stylized paintings of female figures, often nude, animals, and landscapes became internationally known in the 1940s. Admired by Pablo Picasso, Piet Mondrian, and the French surrealists, his peak moment of visibility occurred in 1943, when the Museum of Modern Art mounted a one-man show of his work. The exhibition was widely reviewed—though mostly reviled—by the press, who jeeringly crowned Hirshfield “Master of the Two Left Feet” for his tendency to display the female body in that unorthodox fashion.

After the artist's death in 1946, his work was largely forgotten, but in Master of the Two Left Feet, art historian Richard Meyer rediscovers Hirshfield for twenty-first-century audiences, offering full-color reproductions that capture the vibrant imagination and sheer visual pleasure of Hirshfield's paintings. The book also features a catalog of works compiled by curator Susan Davidson which provides the most comprehensive documentation of the artist's work ever assembled.

Ten years in the making, Master of the Two Left Feet presents Hirshfield's unlikely career as a painter not only as a missing episode in the history of twentieth-century art but as a case study of the ways in which artists go missing from historical knowledge and public memory. By looking closely at Hirshfield and his milieu in 1940s Brooklyn, Meyer demonstrates how much we have yet to learn, and to see, of the visual past.

In this spirited conversation, Paul Chan and Devin Kenny engage bootlegging as a lens to unpack wide-ranging concerns around technology, access, and power. Probing its entanglements with copyright, racialized dynamics of data extraction, and large language models, they ask, among other things, what it means to appropriate our means of production in a moment when, as they suggest, “the tools we use also, very much, use us.”

This book is published in collaboration with Verlag der Buchhandlung Walther Koenig, Grazer Kunstverein, and Kunstverein in Hamburg, and follows Joseph Grigely’s exhibition The Gregory Battcock Archive, which was first exhibited in 2009 with iterations being shown at the Whitney Biennial in 2014, the Grazer Kunstverein in 2015/16, Kunstverein in Hamburg in 2016, and Marian Goodman Gallery, London, in 2016.



Gregory Battcock (1937–1980, US) was a New York–based artist who gave up his practice as a painter to become an art critic; he wrote on Minimalism, Conceptual art, video art, and performance, and generally championed artists pushing the boundaries and definitions of contemporary art. On Christmas Day in 1980 Battcock was found stabbed to death on the balcony of his holiday home in San Juan, Puerto Rico. The murder remains unsolved.



In 1992, Joseph Grigely was exploring the recently abandoned facilities of a storage company in the same building as his studio when he found Battcock’s archive of manuscripts, photographs, and correspondence strewn throughout the space. After making copies of some of the material, a bulk of the collection was donated to the Archives of American Art. In making the exhibition The Gregory Battcock Archive, Grigely created a labyrinth of vitrines in which photographs, manuscripts, letters, and postcards, are juxtaposed in a way to construct portraits of both Battcock and the 1970s New York art world. The publication Oceans of Love: The Uncontainable Gregory Battcock, expands on this material, and includes a lengthy introduction by Grigely that investigates Battcock’s biographical history and his contributions to art criticism.



Born in Switzerland in 1878, Robert Walser worked as a bank clerk, a butler in a castle and an inventor's assistant while beginning what was to become a prodigious literary career. Between 1899 and his forced hospitalization in 1933 with a now much-disputed diagnosis of schizophrenia, Walser produced as many as seven novels and more than a thousand short stories and prose pieces. Though he enjoyed limited popular success during his lifetime, his contemporary admirers included Franz Kafka, Hermann Hesse, Robert Musil and Walter Benjamin. Today he is acknowledged as one of the most important and original literary voices of the twentieth century, his work the subject of essays by W.G. Sebald, J.M. Coetzee, William Gass and Susan Sontag.

A two-decade survey conceived as an inventory of materials

This volume collects two decades of work by Brooklyn-based artist Sara Greenberger Rafferty (born 1978), known for her material transformation of photographs and use of comedy as artistic strategy. The book is organized by material sensibilities around paper, plastic, glass, metal, fabric scraps and "garbage." Studio Visit reconfigures the format of a monograph, sharing roughly 20 years of artwork through intimate studio documentation, sketches, notes and other ephemera. This chronology is punctuated by full-color case studies of major works in photography, sculpture and installation. With image descriptions by art historian Kate Nesin, Studio Visit also includes new writing by Kristan Kennedy and Oscar Bedford, as well as reprinted texts by poet Lisa Robertson, media scholar Shannon Mattern and more. Studio Visit surveys Sara Greenberger Rafferty's cultural commentary through dynamic and conceptually rigorous art.

Because of the importance of Robert Frank's The Americans; because he turned to filmmaking in 1959, the same year the book appeared in the United States; and because he made very different kinds of pictures when he returned to still photography in the 1970s, most of Frank's American work of the 1950s is poorly known. This book, based on the important Frank collection at the Cantor Arts Center at Stanford University, is the first to focus on that work. Its careful sequence of 131 plates integrates 22 photographs from The Americans with more than 100 unknown or unfamiliar images to chart the major themes and pictorial strategies of Frank's work in the United States in the 1950s. Peter Galassi's text presents a thorough reconsideration of Frank's first photographic career and examines in detail how he used the full range of photography's vital 35mm vocabulary to reclaim the medium's artistic tradition from the hegemony of the magazines.

This book is the first to focus on the life and work of Susan Brockman (1937–2001), a prolific filmmaker and artist who was involved in the feminist art movement, the documentary filmmaking community, and the downtown New York art scenes of the 1960s–90s. Through her distinctive approach to framing, editing, and collage, Brockman created interior worlds and tableaux that have a palpable but enigmatic emotional resonance. Brockman neither sought nor received much critical attention during her lifetime, and her work was largely forgotten in the years following her death. In 2021, Soft Network began a three-year journey with her archive, a project that uncovered her striking contributions to the history of experimental image-making. Susan Brockman: Soft Network 01 integrally charts the organization’s research process and methodology, laying bare the immense effort that goes into caring for and creating access to an artist’s legacy and proposing new ways of considering what legacy work can mean.

German writer, critic, and theorist Paul Scheerbart (1863–1915) is considered by some a mad eccentric and by others a visionary political thinker, but his -influence is still felt today. Glass! Love!! Perpetual Motion!!! A Paul Scheerbart Reader is the first extensive collection of Scheerbart’s writings to be published in -English. Along with his influential architectural manifesto Glass Architecture (1914) and his dream of perpetual energy, Perpetual Motion: The Story of an Invention (1910), a selection of his fantastical experiments with the short story form appear here for the first time. Contemporary essays commissioned for this book illuminate -Scheerbart’s importance and the relevence of his ideas in his own time and ours.

This comprehensive account of the six-year history of Acts of Art, a gallery founded by and for Black artists in Greenwich Village in 1969, includes a complete exhibition record, biographies of the gallery’s key artists, and entries on important group exhibitions and events.

This first in-depth look at Acts of Art, and its role within communities of Black artists in New York City highlights the artists most closely tied to the gallery and its co-founder Nigel Jackson, from the early shows of Benny Andrews and James Denmark to the surveys of Lois Mailou Jones and Hale Woodruff. In addition to an introductory essay and complete exhibition history, the volume includes artists’ biographies and entries on important group exhibitions and events. This publication accompanies the exhibition, Acts of Art in Greenwich Village, on view at Hunter College’s Bertha and Karl Leubsdorf Galleries from fall 2024 to spring 2025.

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.

Text by Marcel Broodthaers, written in interview form, published for the Catalogue/Catalogus exhibition at the Palais de Beaux-Arts, Brussels, 1974 (after conversations with Irmeline Lebeer).

Easily one of the most powerful documentary books published this year, it takes for its subject the devastated regions immediately surrounding the now-entombed Chernobyl nuclear power plant. Photographers Paul Fusco and Magdalena Caris take the viewer on a journey of unbelievable anguish to witness the toll meted out by humanity's worst technological disaster ever. It recalls the stirring and intense work of W. Eugene Smith decades earlier in the Japanese village of Minamata.
Photographers Fusco and Caris take the viewer on a journey of unbelievable anguish through the devastated regions immediately surrounding the now-entombed Chernobyl nuclear power plant, located in the Ukraine. A witness to the toll meted out by humanity's worst technological disaster and certainly one of the most powerful documentary books published this year. This book recalls the stirring and intense work of W. Eugene Smith decades earlier in the Japanese village of Minamata.

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

Mika Tajima is a comprehensive catalogue of artist Mika Tajima’s work spanning from 2003–2021.

The sculptures, paintings, videos and installations of New York–based artist Mika Tajima (born 1975) explore the embodied experience of ortho-architectonic control and computational life. From architectural systems to ergonomic design to psychographic data, Tajima’s works operate in the space between the immaterial and the tangible to create heightened encounters that target the senses and emotions of the viewer, underlining the dynamics of control and agency. Her practice materializes techniques developed to shape the physicality, productivity, and desires of the human subject.

This hardcover catalogue includes full-color reproductions of Tajima’s work at the 2019 Okayama Art Summit; her early performances with Charles Atlas, Judith Butler, and New Humans; and exhibitions at the Whitney Museum of American Art, the Hirshhorn Museum and Sculpture Garden, Palais de Tokyo, and Borusan Contemporary, Istanbul, among other international venues. Mika Tajima also includes an introduction by independent curator Mika Yoshitake, an interview with the artist, and a critical text written by Professor T’ai Smith analyzing the conceptual underpinnings of Tajima’s work.

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.

How many of mankind's greatest achievements would not have come to fruition were it not for blind ambition? Our World In Focus is a phenomenally ambitious book that, via some of the most striking and thought-provoking photographs ever taken, aims to highlight the current state of mankind's relationship with the environment, and pose the question, "Where do we go from here?" The project is the brainchild of The Earth Pledge Foundation, a trust established in 1991 in support of the Rio Earth Summit.

In tribute to Robert F. Kennedy’s raw empathy, his determination to make our lives better, and his insistence that the government is answerable to all – black and white, rich and poor – hundreds of thousands of people stood patiently in the searing heat on June 8th, 1968 to watch his funeral train travel slowly from New York to Washington, D.C., just as Abraham Lincoln’s had, 103 years before. Paul Fusco photographed the silent, mourning crowds from the passing train. The result, brought to light over thirty-years later, is a moving snapshot of America at a crucial moment of trauma and transition.

An essay by Norman Mailer, as well as a retelling of the events surrounding the funeral of RFK by prizewinning Newsweek editor Evan Thomas, join the tribute given by Senator Edward M. Kennedy, capturing how this man and his vision of America touched us with steadfast idealism and humanity.

The devastating disaster of the March 11, 2011 tsunami and the nuclear accident afterwards were both a shock and inspiration for Japanese Neo-Pop artist Mr. In response, he composed a massive installation made of hundreds of everyday objects from Japanese life. It’s the central work in this exhibition, presented here with a series of new paintings and other work. A reminder of the debris that blanketed the Tohoku area in the aftermath of 3.11 tsunami and earthquake, the installation embodies the post-disaster fear and frustration of the Japanese people since the catastrophic events.

Live On, which is organized by the Seattle Art Museum, presents Mr.’s art of the past 15 years and is his first solo exhibition in a U.S. museum. Born in 1969, Mr. is a protégé of Takashi Murakami, internationally acclaimed icon of Japanese Pop art. He borrowed the name “Mr.” from “Mister Giants” (Shigeo Nagashima), the superstar third baseman of the postwar Yomiuri Giants baseball team.

Having grown up during Japan’s postwar “economic miracle” period, Mr. often exercises his art as a weapon against social expectations. As a member of the otaku subculture, his work ties closely with the lifestyle, which is marked by obsessive interests in anime and manga and being confined in one’s room with limited interactions with other people. He says, "I've had one eye on anime since the day I was born."

The exhibition includes a group of Mr.’s new works that takekawaii (cute) Japanese Pop art to a new dimension, known asmoe (which literally means budding). Through fictional, adorable characters, moe speaks to a longing for youth, or youthful energy. It grew out of Japanese youth subculture, and its rebellion against authority and political engagement in favor of fantasy and virtual experience.

While Mr.’s art often appears playful at first—even cheerful—its veneer of bright imagery expresses darker themes and addresses anxiety. The works seen here offer his personal and artistic responses to trauma—whether natural disaster, war, psychological angst, or social anxiety—and demonstrate defiance against such adversity.

Georgian Spring is the travel journal of ten Magnum photographers who visited Georgia during spring 2009.

Situated on the eastern fringe of Europe, between Turkey and Russia, with a sophisticated culture that dates back to its settlement by the ancient Greeks, Georgia was forcibly incorporated into the Soviet Union in 1922. Its independence was restored in 1991, but this was followed by civil war and economic breakdown. In the 21st century, despite ongoing tensions with Russia, Georgia has mounted a spirited comeback, transforming itself into a modern European state at a remarkable pace.

At the invite of Georgia’s Ministry of Culture, Magnum photographers Antoine d’Agata, Jonas Bendiksen, Thomas Dworzak, Martine Franck, Alex Majoli, Gueorgui Pinkhassov, Martin Parr, Paolo Pellegrin, Mark Power and Alec Soth set out to describe the country, each pursuing their own theme and working in their own way, chronicling their journey in words as well as pictures. A 20-page chapter is devoted to each photographer’s work. The book also features a foreword by Dworzak, Magnum’s Tbilisi-based photographer; a timeline of Georgia’s history; an essay by Wendell Steavenson – who vividly renews her acquaintance with the country that she came to know while living there during the 1990s; and a chapter featuring the best of Magnum’s archive of photographs of Georgia – including Robert Capa’s 1947 photo-essay, made while visiting the Soviet Union with John Steinbeck. The book opens and closes with a series of postcards showing some of the country’s iconic attractions, old and new, chosen with Georgia’s President Mikhiel Saakashvili and Minister of Culture, Nicholas Rurua.

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

ESPEJO QUEMADA engages with the landscape of Far West Texas, while simultaneously drawing on visual, cultural, and mythological cues informed by feminism, decolonialism, and the artist’s personal and familial histories. Documenting the exhibition of the same name at Ballroom Marfa (the title of which translates to “burnt mirror” in English), this English and Spanish bilingual catalogue is an exploration of artist Donna Huanca’s first memories of Marfa, Texas.

Created during the pandemic, ESPEJO QUEMADA moves away from Huanca’s live public performance work, and focuses on the performative presence inherent in her sculptures and paintings, including the repeated use of mirrors. With essays from Ballroom Marfa curator Daisy Nam, Whitney Museum of Art associate curator Marcela Guerrero, and poet Raquel Gutiérrez, alongside the transcription of a walkthrough by poet and cultural critic Roberto Tejada, ESPEJO QUEMADA invites readers to inhabit Huanca’s work, reminding us that the sentient body is a potent source and repository of memory, intuitive knowledge, imagination, emotion, and desire.