"The eyes are what the fingers claw Knowing now what might have been Will the lips tell what the eyes saw?" -Paul Bowles, Love Song With highly visceral, map-like drawings, hypnotic video work, and voluptuous ceramic vessels, New York artist Katy Schimert draws forth the sensory experiences integral to the drama of Oedipus Rex and its timeless themes of self-awareness, desire, and destiny. In adapting the myth of Oedipus-which traditionally has been characterized in terms of masculinity and male identity-Schimert approaches the tale from the role of Oedipus' daughter/sister Antigone. For this work, which was commissioned by The Renaissance Society, Schimert used materials such as tin foil, string, and masking tape to assemble a stunning installation in which experientially disparate media came together to recreate the inexplicable beauty and charm of this powerful myth. Lynne Cooke, curator of the Dia Center for the Arts, writes beautifully and insightfully of Schimert's sensual artistic reprise of Sophocles' s tragic tale in terms of its expression of longing - specifically, the longing one experiences in a state of blindness.

The Collected Poems of Mary Ellen Solt brings together nearly five decades of poetic work. Celebrated for her suite of visual poems Flowers in Concrete, much of Solt’s work has remained little known or unpublished. From her lyrical engagement with the “American idiom” of William Carlos Williams to her masterful forays into visual and concrete poetry, this volume, assembled and edited by her daughter Susan Solt, provides an in-depth documentation of a truly original writer who was at the center of some of the most daring global poetic developments of the mid-twentieth century.

The centerpiece of The Collected Poems of Mary Ellen Solt is the section “Words and Spaces,” which presents Solt’s concrete poems as she envisioned them: typographically precise, visually stunning, and commanding on the page. As Aram Saroyan writes in his foreword, these poems are “vivid, intimate inventions.” “The Peoplemover 1968,” a series of rarely seen political posters that grapples with the social upheavals and horrors of the late 1960s, combines Solt’s characteristic humor with a healthy dose of semiotics. Yet Solt was also composing works that encompassed everything from a brief and exacting love of nature to the sly observation of candid conversation; and, in an esoteric visual poem constructed purely from symbols, a meditation on marriage.

One of the few Americans, and rare women, in the concrete poetry movement, Solt edited the influential anthology Concrete Poetry: A World View (1968), which brought her to the forefront of that movement not only as a poet, but as an acclaimed critic. After a prominent career as an independent scholar, Solt became a professor of comparative literature at Indiana University, Bloomington, where she and her colleagues developed and expanded one of the first interarts studies programs in the United States.

Mary Ellen Solt (1920-2007), first recognized professionally for her critical writing on William Carlos Williams, was a writer, scholar, and an early proponent of concrete poetry. One of the few Americans in the concrete poetry movement, she edited the highly influential anthology Concrete Poetry: A World View (1968), which brought her to the forefront of that movement not only as a critic, but as a renowned concrete poet. After a prominent career as an independent scholar, Solt became a professor of Comparative Literature at Indiana University, Bloomington. Solt was the author of several poetry collections: Flowers in Concrete (1966), A Trilogy of Rain (1970), Marriage, ‘a code poem’ (1976), and The Peoplemover 1968: A Demonstration Poem (1978). Her poems, most notably “Forsythia” and “Moonshot Sonnet,” have appeared in countless anthologies over the years. Her “flower poems” have been exhibited internationally; of late, at the 2022 Venice Biennale and at the Getty Center in 2017.

Published on the occasion of Nora Schultz's exhibition Parrottree-Building for Bigger than Real, January 12 – February 23, 2014. It was Schultz's first solo museum show in the US and the first show curated at the Renaissance Society by new Chief Curator and Executive Director, Solveig Øvstebø. Nora Schultz: Parrottree is a unique and ambitious hybrid between exhibition catalog and artist’s book. Along with photo documentation of the Renaissance Society installation and an essay by the curator Solveig Øvstebø, the publication also includes The Parrot Magazine by Nora Schultz, a 64-page magazine "made by parrots for parrots and for all birds that need to integrate into human society under aggravated circumstances." Additionally, experimental writing pieces by Keren Cytter and Seth Price, and a visual art project by John Kelsey were all commissioned specifically for this book.

Known for his conceptual and often whimsical approach to art, artist Gilles Barbier is particularly recognized for creating intricate works that explore language, culture, and the boundaries between knowledge and creativity. This book focuses on his Dictionary Pages series and other related works that engage with language in innovative and thought-provoking ways. This catalogue was published on the occasion of an exhibition of the artist's work at the Santa Barbara Museum of Art, November 6, 1999 - January 30, 2000.

“Bernhardt has always been impressive for her ability to combine the immediate, seductive properties of paint with the infectious humor of topical pop culture.” —Hyperallergic

Bernhardt’s boundless visual appetite has established her as one of the most exciting painters working today. Thinking about the relationship between art, objects, and commerce, Bernhardt spotlights iconic motifs of cartoons and cultural symbols. Colors and lines bleed and pool together, revealing Bernhardt’s brisk and improvisational process. Monumental in size, subject matter, and vibrancy, her works demand attention.

Expanding on the exhibition at David Zwirner, London, in 2022, this catalogue includes additional paintings and works on paper in which Bernhardt develops her ongoing body of work. With many details of paintings, this significant publication gives the artist’s work ample space to play. Suzanne Hudson’s essay considers Bernhardt’s work from an art-historical perspective and explores the artist’s work and life.

Labour and Wait featured 16 international artists and artist-collaboratives who bring 21st-century urgency to age-old virtues of hard work and craftsmanship. The exhibition title is adapted from Henry Wadsworth Longfellow’s poem “A Psalm of Life” (1838), which extols living life to its fullest and alludes to the rewards of physical labor.

Comprising over 38 sculptures, videos, and drawings, Labour and Wait highlighted contemporary culture’s preoccupation with authenticity and the handcrafted as well as issues related to manufacturing and labor. The presentation also addressed the resurgence of a Do-It-Yourself aesthetic in art of the past two decades, highlighting the contradictions and connections between the handmade and the heightened technological advancements of our current era. Emphasized were works that illustrate current-day representations of the analog. Are such works viable in today’s world? Are such tendencies an action of or a reaction to technological progress? These questions, among others, are explored throughout the exhibition, catalogue, and related public programs.

Maja Lisa Engelhardt is a Danish painter best known for her abstractions. Inspired by the landscapes of her childhood home in the coastal region of Zealand in Denmark, Engelhardt channels her memories of a difficult childhood and her Christian spirituality to create loosely geometric, cumulus paintings. There is often a bright white or dark mass in the center of her canvases, portraying an inner light, or darkness, which hints at representation without ceding qualities of abstraction. “I hope that my images are universal and metaphysical visions of light, air, soil and ocean,” the artist has said. “These are abstract snapshots instead of concrete illustrations of biblical acts." Born on May 2, 1956 in Frederiksberg, Denmark, she grew up on the Odsherred peninsula with abusive parents and two younger sisters. After graduating from the Funen Art Academy in 1980, she moved to a suburb of Paris, where she began her career and received immediate recognition. Engelhardt’s works are in the collections of the Ball State Museum of Art in Muncie, Indiana and the National Gallery of Denmark in Copenhagen, among others. The artist lives and works in Paris, France.

This is a catalog of her work, produced by Elizabeth Harris Gallery and printed by Narayana Press in Denmark.

Art to Zoo features highlights of a fascinating and beautiful exhibition, curated by Karen Sinsheimer. In more than two dozen extraordinary photographs chosen from the Museum's permanent collection, we witness the visions of an array of artists as diverse as Roman Vishniac and Susan Jorgensen, Eadweard Muybridge and Shaun Walton, Harold Edgerton and Macduff Everton. These photographic masterworks look beyond the immediate allure of adorable animals and offer the opportunity to explore scientific discoveries in a variety of species. Just as animal portraiture reveals personalities and presence, Art to Zoo: Exploring Animal Natures seeks to reveal the complex, thoughtful, and often elegant ways in which animals touch, see, and hear the world.

Maja Lisa Engelhardt is a Danish painter best known for her abstractions. Inspired by the landscapes of her childhood home in the coastal region of Zealand in Denmark, Engelhardt channels her memories of a difficult childhood and her Christian spirituality to create loosely geometric, cumulus paintings. There is often a bright white or dark mass in the center of her canvases, portraying an inner light, or darkness, which hints at representation without ceding qualities of abstraction. “I hope that my images are universal and metaphysical visions of light, air, soil and ocean,” the artist has said. “These are abstract snapshots instead of concrete illustrations of biblical acts." Born on May 2, 1956 in Frederiksberg, Denmark, she grew up on the Odsherred peninsula with abusive parents and two younger sisters. After graduating from the Funen Art Academy in 1980, she moved to a suburb of Paris, where she began her career and received immediate recognition. Engelhardt’s works are in the collections of the Ball State Museum of Art in Muncie, Indiana and the National Gallery of Denmark in Copenhagen, among others. The artist lives and works in Paris, France.

This is a catalog of her work, produced by Elizabeth Harris Gallery and printed by Narayana Press in Denmark.

Justin Allen’s Language Arts takes up writing as an integral part of an interdisciplinary art practice. Across poems, essays, lyrics, screenwriting, and drawings, works touch on themes of music and subculture, African diasporic language, visual art, and more, bringing together Allen's numerous influences into one collection.

This catalogue accompanies the first solo museum exhibition of painter Scott Short. In Short's work notions of color and abstraction are boldly reinterpreted. His method of generating compositions is to make a black and white photocopy of a sheet of colored construction paper, and then makes a copy of a copy of a copy, until the result is hundreds of times removed from the original. Short then selects one of these many copies, enlarges it, and painstakingly copies it in paint on canvas. Despite its labor intensiveness, the procedural aspect of Short's paintings is subordinate to their effect. Visually, Short's paintings are Abstractions with a capital A. Once the photocopies have undergone the shift of scale and material that occurs when Short transcribes them as paintings, they become as a species of abstraction even Greenberg would acknowledge. The fact, however, that Short is dedicated to copying makes his painting the keepers of their own dialectic, in which roles become reversed. Although it is the photocopier that performs the creative role of abstracting, Short's mechanical manual labor allows the copy to become the original and the abstract to lay claim to being strictly representational. Michelle Grabner's essay explores the ideological intersections of copying, repetition, and manual dexterity in art practice. Hamza Walker's essay discusses how Short's practice nullifies the distinction between abstraction and figuration.

Published by the Santa Barbara Museum of Art, this catalogue focuses on the prints of Austrian artist Oskar Kokoschka, primarily known for his vivid and emotionally charged portraits and expressionist paintings, was also a skilled printmaker. This catalog highlights his achievements in the medium of printmaking, offering a detailed examination of his contributions to the art form.

At the 1991 United Nations Earth Summit Committee inaugural ceremony, Robert Rauschenberg unveiled a new painting, Last Turn, Your Turn which included the groups pledge and became the official picture of the UN conference. Since that time, with the continuing degradation of the environment, Rauschenberg continued to produce paintings and other works of art relating to the environmental issues.

This is the catalog of an exhibition of some of those works, held at the Jacobson Howard Gallery in New York City in 2008. Fourteen works in color, including the original Last Turn, Your Turn, with extensive information on Rauschenberg's life and works, and his continuing involvement in efforts to save our planet's environment.

This publication accompanies the exhibition Nancy Mitchnick: Uncalibrated.

The eighty-eight page full color catalogue documents the survey of Mitchnick’s work organized by the Museum in 2016. The catalogue includes essays by founding board members Lynn Crawford and Marsha Miro and is the first extensive publication about Mitchnick’s work.

Contextures was originally published in 1978 by New York City’s legendary Just Above Midtown gallery. Edited by gallery founder Linda Goode Bryant and Marcy S. Philips, the publication provides an extensive history of Black artists working in abstraction from 1945 to 1978, while also articulating a newly-emerging movement of Black Conceptual Art in the 1970s.

The publication contains extensive writing by Goode Bryant and Philips drawn from interviews with the featured artists, as well as 58 black-and-white and 16 color images documenting the work of 25 artists: Banerjee, Frank Bowling, Donna Byars, Ed Clark, Houston Conwill, John Dowell, Mel Edwards, Wendy Ward Ehlers, Fred Eversley, Susan Fitzsimmons, Sam Gilliam, Gini Hamilton, David Hammons, Manuel Hughes, Suzanne Jackson, Noah Jemison, James Little, Al Loving, Senga Nengudi, Howardena Pindell, Betye Saar, Raymond Saunders, Sharon Sutton, Randy Williams, and William T. Williams. A newly commissioned afterword by Thomas (T.) Jean Lax, curator of the exhibition Just Above Midtown: Changing Spaces at the Museum of Modern Art, is also included.

Goode Bryant and Philips originally conceived Contextures to accompany The Afro-American Artists in the Abstract Continuum of American Art: 1945–1977. Functioning more like a textbook than a traditional catalog, the book nonetheless realizes a vital mission of their curatorial vision, placing Black artists within the still-prevalent, white-dominated canon of post-war abstract art. Despite its historical importance and visionary scholarship, Contextures was originally produced in a limited run of just a few hundred copies by the gallery and remains rare and largely unknown.

This new edition is produced in facsimile form and is a co-publication with Pacific.

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.

Decades before today's major Los Angeles museums realized the potential of contemporary art, the pioneering institutions, Pasadena Art Museum and the Santa Barbara Museum of Art, under curator directors Thomas Leavitt and Walter Hopps championed talented local and internationally recognized painters. Part of the Getty Research Institute's Pacific Standard Time initiative, this crisp exhibition catalog reconstructs the partially forgotten history through photos and reproductions. Storied moments such as Kienholz's first solo show(1961), Duchamp's chess game with a naked Eve Babitz(1963) and Diebenkorn's first major exhibition(1963) reenter the annals of 20th century American art history. Authored by curator, Julie Joyce.

Gabriel Sierra’s 2015 Renaissance Society presentation featured a title that changed each hour while the gallery was open. These eight phrases—Monday Impressions; How the Outside Leaks into the Room; Smells Like 100 Years Old; The Room Is in My Eye. The Space under My Body; In the Meantime, (This Place Will Be Empty after 5:00 pm); An Actual Location for This Moment; Few Will Leave Their Place to Come Here for Some Minutes; and Did You Know Who Built Your House?—also alternate as titles for the exhibition catalogue, with each copy of the book featuring one of them.

This publication includes essays by Douglas Fogle and Irene V. Small; an interview between Sierra and curator Solveig Øvstebø; original drawings by the artist; and black and white and color installation images from the Renaissance Society exhibition. It is designed by Studio Manuel Raeder and co-published with BOM DIA BOA TARDE BOA NOITE.

Berlin-based artist Matt Saunders has in recent years captured the art world’s eye with a striking series of hybrid images and animated films produced using techniques from both photography and painting. Using movie stars such as German actress Hertha Thiele and British actor Patrick McGoohan as subjects, Saunders recasts historical film and television images into new discourses about portraiture, iconography, and spectatorship.

Matt Saunders: Parallel Plot is both an artist’s book and a catalog that documents and reflects on a 2010 exhibition held at the Renaissance Society at the University of Chicago. Reproducing the stunning artwork from that show, the book also includes two conversations between Saunders and artist Josiah McElheny and an essay by experimental film scholar Bruce Jenkins that tackles the relationship among painting, photography, and film, as well as the dynamics of Saunders’s iconography. Offering insight into Saunders’s sophisticated working methods, this book is an evocative introduction to the work of this intriguing artist and the intertwined histories of film and photography.

For a decade, Patricia Fernández amassed a collection of objects as part of a time-based project between her and her friend, the gallerist Young Chung. This publication by Commonwealth and Council with the support of Los Angeles Contemporary Archive (LACA) shares the contents of the artist’s letters, ceramic ware, newspaper ephemera, textiles, sculptures, drawings, paintings, mementos, and written agreement between Fernández and Chung that initiated this correspondence collection. The book, designed as an inventory, tells the story of Fernández’s prolonged period of isolation in the Mojave desert, her transition into motherhood, and Chung’s risky formation of a gallery, sharing with us an archival collection that highlights the care between one another.

Endless Shout asks how, why and where performance and improvisation can take place inside a museum. The book documents a six-month series of experimental performances organized by the Institute of Contemporary Art, University of Pennsylvania, where five participants―Raúl de Nieves, Danielle Goldman, George Lewis, The Otolith Group and taisha paggett―collectively led a series of improvisation experiments. These include Miya Masaoka’s A Line Becomes a Circle, which pays tribute to Shiki Masaoka, a subversive Japanese haiku writer; jumatatu m. poe and Jerome “Donte” Beacham’s Let ‘im Move You, addressing the history of J-Sette, a dance form popularized at historically black colleges; and A Recital for Terry Admins by composer George Lewis. The book includes an essay by curator Anthony Elms, conversations with Jennie C. Jones and Wadada Leo Smith on themes of rhythm, rehearsal and improvisation, plus new works created specifically for the book, such as a script by The Otolith Group on blackness and digital color correction.

The Mundus is Norman Pritchard’s magnum opus, a mysterious work that is both visual and poetic, literary and mystical. The work was composed between 1965 until at least July 1971, a six-year period during which the author refined and reworked its pages, seeking out new literary forms alongside personal transcendence. As Pritchard mentions in a letter to Ishmael Reed in 1968, “Literature in and of itself doesn’t seem to have a broad enough scope for me anymore.” Despite its ambitions and grand scope, The Mundus has gone unpublished for over fifty years.

Subtitled “a novel with voices,” The Mundus combines Pritchard’s earlier poetic innovations with his growing interest in theosophy, exploring a spiritual terrain he enigmatically dubbed the transreal. Appropriately, this lost masterpiece represents some of Pritchard’s most challenging work, with the text proceeding in small leaps and sublime fractures, stuttering across the page with sonic and visual momentum as it threads through an immersive, textual mist comprised solely of the letter “o”.

Pritchard found early success with his books The Matrix and EECCHHOOEESS, experimental texts that, in part, bear the imprint of the avant-garde arts, music, and poetry communities of the late 1960s, in particular the Umbra group, a collective of Black poets of which he was a leading member. But The Mundus finds Pritchard at his most radical and revelatory, putting forth a profound act of negation, while it delves readers into a primordial soundscape populated by language’s essential building blocks. An early pillar of Black poetics and a world unto itself, The Mundus must be sounded out not only with the mind, but also with the mouth, body, and soul.

Norman Henry Pritchard was born in New York City in 1939 and studied at New York University and Columbia University. His work has been published in two collections: The Matrix Poems: 1960–1970 (1970) and Eecchhooeess (1971). His poetry was featured in the journals Umbra and The East Village Other, performed on the jazz poetry compilation New Jazz Poets (1967), and anthologized in The New Black Poetry (1969) and In a Time of Revolution: Poems from Our Third World (1969). Pritchard taught poetry at the New School for Social Research and was a poet-in-residence at Friends Seminary. He died in eastern Pennsylvania on February 8, 1996.

Modern Artifacts features all 18 installments of the eponymous series that appeared in issues of Esopus—several of which are sold out—from 2006 to 2019. The “Modern Artifacts” series featured items reproduced in facsimile from MoMA’s extraordinary collection—ranging from documentation related to never-before-realized exhibitions to pages from the Museum’s first guest book—curated and introduced by MoMA’s Chief of Archives, Library, and Research Collections Michelle Elligott.

Six contemporary artists—Mary Ellen Carroll, Rhea Karam, Mary Lum, Clifford Owen, Michael Rakowitz, and Paul Ramirez Jonas—have contributed projects related to a particular aspect of the archives. These contributions—many incorporating removable inserts—appear throughout the book, which also includes an introductory essay by Elligott and a foreword by Esopus editor Tod Lippy.

Maja Lisa Engelhardt is a Danish painter best known for her abstractions. Inspired by the landscapes of her childhood home in the coastal region of Zealand in Denmark, Engelhardt channels her memories of a difficult childhood and her Christian spirituality to create loosely geometric, cumulus paintings. There is often a bright white or dark mass in the center of her canvases, portraying an inner light, or darkness, which hints at representation without ceding qualities of abstraction. “I hope that my images are universal and metaphysical visions of light, air, soil and ocean,” the artist has said. “These are abstract snapshots instead of concrete illustrations of biblical acts." Born on May 2, 1956 in Frederiksberg, Denmark, she grew up on the Odsherred peninsula with abusive parents and two younger sisters. After graduating from the Funen Art Academy in 1980, she moved to a suburb of Paris, where she began her career and received immediate recognition. Engelhardt’s works are in the collections of the Ball State Museum of Art in Muncie, Indiana and the National Gallery of Denmark in Copenhagen, among others. The artist lives and works in Paris, France.

This is a catalog of her work, produced by Elizabeth Harris Gallery and printed by Narayana Press in Denmark.

Ancart often paints subjects that naturally invite contemplation, such as the horizon, clouds, flowers, flames, and icebergs. His newest body of work captures the experience of landscape seen in motion or from a distance: trees blurred while driving past, a far-off inky-black sea, an evocative Martian mountain range. Recalling René Magritte, Egon Schiele, Gustav Klimt, and Piet Mondrian, who approached this subject matter in distinct ways, Ancart blurs form and color, figure and ground, and figuration and abstraction.

Reproduced here in magnificent foldouts, two multipanel canvases situate the viewer between a mountainscape and a seascape, both monumental in scale. Ancart segments the seascape with a stark horizon line, dividing sky and ocean. Like other comparable motifs within the artist’s oeuvre, the vividly colored cloudy sky functions in an anthropomorphic way, alluding to the endless possibilities and personalities of organic forms.

Including an interview with the artist by Bob Nickas, this catalogue offers insight into Ancart’s frank reflections on painting, writing, nature, and more. The publication also features a new essay by Laura McLean-Ferris. Taken together, the works in Traveling Light meditate on the expansive possibilities of painting.

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.

Since 1975, photographer Dawoud Bey has developed a body of work distinguished for its commitment to portraiture as a means for reflecting social circumstances. Ranging from street encounters to studio portraits, Bey has investigated numerous photographic methods to find increased engagement with his subjects. The Renaissance Society exhibition this catalogue accompanies (May 13 – July 13, 2012) included selections from Bey's work spanning the thirty years from 1982 to the present. The exhibition offered a comprehensive look at Bey's oeuvre, and provided an opportunity to explore related subjects in art history and social discourse, such as the presentation of self, race, site, and the relationship between artist and subject. Includes essays by Arthur Danto and Julie Bernson as well as an interview between Bey and the Renaissance Society's Associate Curator and Director of Education, Hamza Walker.

Quotations from Jimmy DeSana is a small book of poems and images created by the artist to accompany his exhibition at Pat Hearn Gallery in 1988. This show was notable for introducing the artist’s work with photographic abstraction—a style that would come to define his final body of work, Salvation.

The 18 poems included in this publication share some of the themes of Salvation, touching on loss and the unknown, but they are imbued with a metaphysical, aphoristic, and at times absurdist quality that allows for a more expansive range of emotions. Although DeSana’s poems are labeled as quotations—and are bookended by quotes from St. Augustine, Nietzsche, and Picasso—the elliptical and open-ended structure of the works give them an air of universality, offering a nuanced and atmospheric reading of the artist’s interior and exterior worlds. Like the photographs in the exhibition that they accompanied, three of which are reproduced in the book, Quotations from Jimmy DeSana resists a clear reading of representation, offering an abstracted and fragmented version of self in its place. As DeSana states in the publication’s opening work, “a part of my soul, is the same as the whole.”

“The way cats were born to meow, I was born to make art,” says the artist, Kenny Irwin, Jr. A compulsive maker since childhood, Irwin has invested a lifetime transforming a one-acre property in a Palm Springs’ neighborhood into an artwork of epic proportions. It is with great pride that MOCAD presents RoboLights Detroit at Mike Kelley’s Mobile Homestead in Fall 2019.

Accompanying the exhibition, this publication celebrates the original Robolights project in Palm Springs. This archive of Robolights also serves as a testament to Julie Reyes Taubman, another compulsive maker in her own right, who documented Irwin’s spirit and the over thirty year project. We all owe a profound thanks to Julie for her ability to recognize the powerful work of artists who use their practices to address the state of the world and bring us closer together.

With the support of her husband Robert Taubman, Julie co-founded MOCAD in 2006. It has contributed significantly to the landscape of Detroit and changed many lives for the better. Artists are truth-seekers and storytellers. They create, translate, and illuminate. They influence, inspire, and build movements. When we need to escape the news and the day’s events, we sink into a moving work of art or performance or film or book and it restores us. They remind us that we’re human and they connect us to one another again.

This project is supported by the Alfred Taubman Foundation and championed by Robert Taubman, Lorraine Wild, and Chris Byrne.

For over thirty years, Peter Halley’s paintings, with their characteristic day-glo color and distinctive faux-stucco surfaces, have engaged in variations on the same closed set of geometric forms, designated by the artist as prisons, cells, and conduits — “icons that reflect the increasing geometricization of social space in the world in which we live.” Treating space as a manifestation of social control—an idea inspired by the artist’s interest in Michel Foucault’s notion of a carceral society—Halley’s paintings provide metaphors for the constantly proliferating communication and organizational networks that have come to dominate our world. Over a career of three decades, the artist has deployed his trademark iconic forms with ever increasing intensity, resulting in works with ever more dazzling combinations of color, shape, and texture, assuring their continuing relevance in the post-millennial information age.

The first monograph for Los Angeles–based artist Anthony Pearson (born 1969) documents nearly 15 years of monochromatic photographs, sculptures and multimedia works. The book documents Pearson’s studio and includes artist’s reflections and a curatorial essay tracing his varied cultural influences—including music and the culture of Southern

This catalogue contains full-page reproductions of the entire body of work presented in Gest's 2006 Renaissance Society exhibition. In this series, Gest captured his lone sitters at the chance interstices of deep reflection, when the self dwells in thought. The construction of the self as it happens before Gest's camera serves to question the construction of that self in reality. Gest uses digital photography to monumentalize photography's ability to capture such fleeting moments. Each photograph is seamlessly constructed from hundreds of digital images of the sitter and their surroundings. The photographs' initial straightforward appearance can only be maintained at a cursory glance. Gest's subtle and not so subtle exaggerations of proportion and perspective quickly betray the images as mannerist constructions. This makes Gest's work susceptible to the discourse of post-photography, which is dominated by the means rather than the ends of photography. Gest however is adamant that the means he employs should in no way be mistaken for their meaning, stating, "That the image is made and manipulated digitally is neither here nor there. Digital photography simply allows me to make the picture I want." In her essay, Catherine Sousloff, Professor of History of Art and Visual Culture at the University of California, Santa Cruz, analyzes Gest's work in relation to historical protraiture and the visual construction of modern subjectivities. The catalogue also includes the transcript of an interview between Ben Gest and Hamza Walker.

The first full-length monograph of Houston-based visual artist Jamal Cyrus (born 1973), this publication features an overview of Cyrus’ practice of cobbling modern artifacts that trace the evolution of Black identity as it migrates across the African Diaspora, Middle Passage, jazz age and civil rights movements from the 1960s to now.

Published to accompany Cyrus’ first career survey exhibition at the Blaffer Art Museum, the catalog includes materially diverse and conceptually charged textile-based pieces, assemblages, performances, installations, paintings and works on paper produced in the past two decades, including his ongoing Pride Records installation series.

Together, these multidisciplinary artworks demonstrate Cyrus’ commemoration, translation and reactivation of sociopolitical struggles in African American history―forging a revised chronicle of histories, hybridity and redemption.

Maja Lisa Engelhardt is a Danish painter best known for her abstractions. Inspired by the landscapes of her childhood home in the coastal region of Zealand in Denmark, Engelhardt channels her memories of a difficult childhood and her Christian spirituality to create loosely geometric, cumulus paintings. There is often a bright white or dark mass in the center of her canvases, portraying an inner light, or darkness, which hints at representation without ceding qualities of abstraction. “I hope that my images are universal and metaphysical visions of light, air, soil and ocean,” the artist has said. “These are abstract snapshots instead of concrete illustrations of biblical acts." Born on May 2, 1956 in Frederiksberg, Denmark, she grew up on the Odsherred peninsula with abusive parents and two younger sisters. After graduating from the Funen Art Academy in 1980, she moved to a suburb of Paris, where she began her career and received immediate recognition. Engelhardt’s works are in the collections of the Ball State Museum of Art in Muncie, Indiana and the National Gallery of Denmark in Copenhagen, among others. The artist lives and works in Paris, France.

This is a catalog of her work, produced by Elizabeth Harris Gallery and printed by Narayana Press in Denmark.

In his late eighties, American painter Charles Garabedian is hardly a household name. But he is a highly influential artist whose works are collected by LACMA, the Met, MoMA, the Whitney, the Corcoran and the Smithsonian, among other institutions, and the subject of this extensively illustrated exhibition catalog from the Santa Barbara Museum of Art.

This revelatory group of intimate representational paintings and drawings -- from Garabedian's first museum show in almost 30 years -- explores themes of war, music, the body, dismemberment, heroism, comic pretension, love and death. An exciting discovery of surprising importance.

This title features the recovered and re-edited transcript of a 1998 conversation between artist Adrian Piper and philosopher Peter Osborne at Jerry’s restaurant in Soho, New York.

As Piper describes it: “Our conversation is wide-ranging—from the genesis, definition, and art-historical impact of early Conceptual art; to Minimalism; to historical revisionism; to the political turn that we all took; to the relation between methodological individualism and the explanation of xenophobia; to metaphysical emergence and reduction in scientific explanation; to metaphysical explanation in Kant, Hegel, and Vedic philosophy more generally; and more. The dialogical style is fast-paced, argumentative, good-natured, and civilized (an unusual combination). It is clear that we were both having a really good time, plus the food at Jerry’s was great.”

Maja Lisa Engelhardt is a Danish painter best known for her abstractions. Inspired by the landscapes of her childhood home in the coastal region of Zealand in Denmark, Engelhardt channels her memories of a difficult childhood and her Christian spirituality to create loosely geometric, cumulus paintings. There is often a bright white or dark mass in the center of her canvases, portraying an inner light, or darkness, which hints at representation without ceding qualities of abstraction. “I hope that my images are universal and metaphysical visions of light, air, soil and ocean,” the artist has said. “These are abstract snapshots instead of concrete illustrations of biblical acts." Born on May 2, 1956 in Frederiksberg, Denmark, she grew up on the Odsherred peninsula with abusive parents and two younger sisters. After graduating from the Funen Art Academy in 1980, she moved to a suburb of Paris, where she began her career and received immediate recognition. Engelhardt’s works are in the collections of the Ball State Museum of Art in Muncie, Indiana and the National Gallery of Denmark in Copenhagen, among others. The artist lives and works in Paris, France.

This is a catalog of her work, produced by Elizabeth Harris Gallery and printed by Narayana Press in Denmark.

Over Rainbows and Down Rabbit Holes: The Art of Children's Literature explores the illustrations created for children's books. The publication examines the rich and diverse world of children's literature through its visual art, showcasing the ways in which artists have used their skills to bring stories to life and shape the imaginations of young readers.

In her debut book Repose, Amelia Zhou poses the question, “How do I perform or not perform?” Weaving together poems, fiction, and lyric essay, Repose follows an unnamed woman grappling with the limits of the self on the everyday stage of labor and routine, charting her emergent modes of resistance. She is already steps ahead, deftly shifting between worker and dancer, roving through the haunted space in which a performance has just ended, the ruins of a house, or a skyscraper aflame. Seeking the edges of form—where it exceeds itself, where it breaks down—Repose offers a narrative of girlhood invigorated by the mutual possibilities of dreaming and defiance.

Amelia Zhou works with writing and movement, with an interest in exploring their various intersections as they arise in forms such as poetry, prose, or performance. In 2021 she was awarded Gold Prize at the Creative Future Writers’ Awards (UK) and was a recipient of the Ultimo Prize (Australia), both for prose. Her work has been published most recently in Overland, LUMIN Journal, and Ambit; exhibited at Orleans House Gallery; with further writing in numerous UK and Australian publications. She holds a MA in Creative Practice from Trinity Laban Conservatoire of Music & Dance (2020) and is an incoming PhD student in English at the University of Cambridge. Born and raised in Sydney, Australia, she now lives in London.

Marking the first museum exhibition devoted solely to the photographs of Ellsworth Kelly, this beautifully designed volume features each photograph in the Santa Barbara Museum of Art’s illuminating presentation of this lesser-known aspect of Kelly’s art. From the late 1940s on, Kelly created an era-defining body of abstract art based on many kinds of visual phenomena he perceived around him. Largely made for himself, Kelly’s photographs record these discoveries in tightly-composed images of nature and architecture that often reverberate with striking sunlight and shadow.

The work by contemporary Brazilian artist, Valeska Soares navigates the realms of human emotion and experience, ranging from love and intimacy, loss and longing, to memory and language. In her multimedia paintings, sculptures, videos, and sight specific installations, ordinary, everyday objects are transformed to create new and poignant narratives. Initiating her career in Brazil in the late 1980s, Soares’ early work is recognized for engaging the full range of senses, even scent—through the use of flowers and perfumes. Works from recent decades elicit her mastery of language and text, specifically through the conceptual and physical use of books. Published on the occasion of the artist’s largest survey exhibition to-date, this monograph provides a comprehensive examination of works and installations produced during the artist’s nearly thirty-year oeuvre. Part of the Getty’s noted Pacific Standard Time: LA/LA, a far- reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles (2017-2018).

Featuring work by artists Kevin Beasley, Peter Downsbrough, Goutam Ghosh, Falke Pisano, and Martha Wilson, group exhibition Between the Ticks of the Watch (Apr 24–Jun 26, 2016) presented a platform for considering doubt as both state of mind and pragmatic tool.

This illustrated catalogue features newly commissioned texts by Ranjit Hoskote, Heidi Salaverría, and Richard Shiff, and an introduction by curator Solveig Øvstebø. Contributions from the artists include a cover by Downsbrough, transcript of Pisano's video work, and a text by Beasley.

Sonic Rebellion: Music as Resistance is inspired by the vital history of music in Detroit and the legacy of the 1967 Detroit Rebellion. It connects Detroit’s musical and political histories with a wide range of artworks, music ephemera and artifacts to offer a listening space for the rebellion’s reverberations. This historic event is related to more recent social movements, from Occupy to Black Lives Matter, illustrating threads between past protests and the unresolved racial politics in the United States today. One major thread is the role of music as a catalyst for social change and empowerment.

Borrowing its title from Herodotus’ fifth-century work, this publication documents a cycle of three works collectively titled The Histories, by artist David Hartt (born 1967). Focusing on the Americas and the Caribbean during the 19th century, Hartt explores real and imagined landscapes informed by the work of Martin Johnson Heade, Robert S. Duncanson, Michel-Jean Cazabon and Frederic Church. His contemporary interpretations use video, tapestry and sculpture alongside musical collaborations with Girma Yifrashewa, Van Dyke Parks and Stefan Betke. The first work, Le Mancenillier, sited in the Frank Lloyd Wright–designed Beth Sholom Synagogue, was filmed and photographed in Haiti and New Orleans. The second, Old Black Joe, in Trinidad and Ohio, and the final work, Crépuscule, commissioned by the Philadelphia Museum of Art, was made in Jamaica and Newfoundland.

Figurative Impulses: Five Contemporary Sculptors explores the works of five prominent artists: Heidi Fasnacht, Mark Lee, Scott Richter, Judith Shea, and Mia Westerlund Roosen. The book delves into the their vaired approaches, focusing on a contemporary sense of figuration that lurks between the representational and the abstract. While each sculptor brings a unique perspective to the field, they all share an interest in figurative forms as a means of exploring complex themes like identity, form, and emotion. The book includes both critical essays and visual documentation of the featured artists' works, offering insight into their creative processes and the cultural and artistic contexts that shaped their work.

This collection of writings by artist and filmmaker Tiffany Sia gathers six essays that offer a framework for an exilic, fugitive cinema. Sia addresses geopolitics in cinema, image circulation, and national imaginaries, highlighting the stakes of deterritorializing the discursive formation of new media and film practices, and making the case for the continued relevance of cinema in an era of networked images and screen ubiquity.

An essential counterpart to Sia’s films and artworks, this volume is a critical intervention into global film studies, the politics of film/photographic practices, and experimental approaches to documentary. As a practitioner and thinker, Sia has been at the forefront of a new generation of filmmakers working with new vernacular media to trace and comment on social unrest and political crackdowns. Drawing from personal experience and historical study, the essays in this volume offer urgent reflections on a cultural landscape changed by national-security policies, shadow bureaucracies, censorship, and surveillance.

Written in the wake of the 2019-2020 Hong Kong Protests ignited by the Anti-Extradition Bill Movement, Sia’s essays survey the rise of a new documentary vernacular and fugitive cinema being produced by a wave of emerging filmmakers who have broken from the nostalgic overdrive of Hong Kong’s cinematic golden age. Turning her focus to the Cold War, the artist confronts its afterlives and visual regimes, attending to ad hoc distribution networks, speculative and performative modes of re-enactment, and countergeographic landscape imaging that disrupt the politics of place, representation, and nationhood. Sia advocates for an exilic practice that moves beyond categories of national identity, media, and genre.

The publication includes a foreword by film and media studies historian, Jean Ma. Film stills from filmmakers Chan Tze-woon and the anonymous collective Hong Kong Documentary Filmmakers; photographs by the artist An-my Lê; and images from Sia’s short film, The Sojourn (2023), are interspersed between each essay, inviting the reader to construct or consider a cinema by other means.

Tiffany Sia is an artist, filmmaker, and writer living in New York. Her work explores the politics and relations of media circulation and considers how material cultures, particularly print and film/video, trace and enable power, governance, and perception, and how such forces play out and construct imaginaries of place, especially Hong Kong. Sia has directed several short films, including Never Rest/Unrest (2020), Do Not Circulate (2021), and What Rules the Invisible (2022), which have screened at New York Film Festival, Toronto International Film Festival, MoMA Doc Fortnight, Flaherty Film Seminar, and elsewhere. She has exhibited work at venues including Artists Space, New York; the Museum of Modern Art, New York; Seoul Museum of Art; FELIX GAUDLITZ, Vienna; and Kunstverein für die Rheinlande und Westfalen, Düsseldorf. Her books include Too Salty Too Wet (Speculative Place, 2020) and Salty Wet (Inpatient Press, 2019), and her essays have appeared in Film Quarterly, October, Artforum, and LUX Moving Image.

In the early 1980s, a group of artists, writers and activists came together in New York City to form Artists Call Against US Intervention in Central America, a creative campaign that mobilized nationwide in an effort to bring attention to the US government’s violent involvement in Latin American nations such as Nicaragua and El Salvador. Together the group staged over 200 exhibitions, concerts and other public events in a single year, raising awareness and funds for those disenfranchised by such political crises.
Art for the Future illuminates the history of Artists Call with archival pieces and newly commissioned work in the spirit of the group’s message. In Spanish and English, a wide selection of artists and organizers examine the group’s history as well as the issues that were as urgent to Artists Call in 1984 as they are now: decolonization, Indigeneity, collectivity, human rights and self-determination.

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.

Salvation is a previously-unpublished artist book by Jimmy DeSana that he conceptualized shortly before his death in 1990. The publication contains 44 of the artist’s late photographic abstractions that quietly and poetically meditate on loss, death, and nothingness. Depicted within the works are images of relics, body parts, flowers, and fruits that DeSana altered using collage and darkroom manipulations to create pictures that are both intimate and other-worldly. Salvation provides a nuanced and sophisticated counterpoint to the prevailing work around HIV/AIDS at the time, which tended to favor bold political statements.

Variations of many of the works in this book were first presented at DeSana’s last show with Pat Hearn Gallery in 1988. Shortly thereafter, the artist began assembling a maquette of Salvation, using black and white images as place holders for the color works that he intended to comprise the final layout of the publication. Sadly, he was unable to fully realize Salvation in his lifetime, but on his deathbed, he dictated instructions to his longtime friend Laurie Simmons for completing the work; instructions which she noted on each page of the single-copy maquette. With these notes, Simmons was able to match extant slides and sequencing. Simmons’ studio chose color gels from DeSana’s archive for each corresponding black and white image in the assembly of the publication. Thankfully, due to this recuperative work, Salvation—long-considered to be DeSana’s last major work—is now available for the first time, with every step taken to honor and embody DeSana’s original vision.

Jimmy DeSana (1949-1990) grew up in Atlanta, GA, and received his bachelor’s degree from the Georgia State University in 1972 before relocating to New York’s East Village in the early 1970s. Recent solo and two-person exhibitions include The Sodomite Invasion: Experimentation, Politics and Sexuality in the work of Jimmy DeSana and Marlon T. Riggs, Griffin Art Projects, Vancouver, Canada, 2020, and Remainders, Pioneer Works, Brooklyn, NY, 2016. DeSana’s work can be found in numerous public collections including the Institute of Contemporary Art, Boston, MA; Metropolitan Museum of Art, New York; Museum of Contemporary Art, Chicago, IL; Museum of Fine Arts, Houston, TX; Museum of Modern Art, New York, NY; and the Whitney Museum of American Art, New York, NY, among others. A major retrospective of DeSana’s work was exhibited at the Brooklyn Museum, New York, in 2022, accompanied by a catalogue co-published by the Brooklyn Museum and DelMonico Books.

This publication accompanies Crossing Night: Regional Identities x Global Context, and exhibition presented ay MOCAD in fall 2019. Crossing Night presented work that speaks to the concerns, thoughts, and desires contemporary artists from the Southern African region. This exhibition addresses the construction and deconstruction of dominant narratives with a special focus on the complex relationship of colonialism and post-colonialism, including post-colonial remembrance. The exhibition was co-organized by the A4 Arts Foundation—a non-profit arts project dedicated to supporting the creative arts in the southern African region. With an emphasis on transition and transformation, Crossing Night explores how local politics, urban landscape, and place shape the personal identities that define regional culture. The exhibition features photography, video, sculpture, and installation works.

Nour Mobarak’s Dafne Phono is an adaptation of the first opera, Dafne, composed and written by Jacopo Peri and Ottavio Rinuccini in 1598. Drawing on the myth of Daphne and Apollo from Ovid’s Metamorphoses—a story of unrequited love, patriarchal possession, conquest, and transformation—Mobarak’s multimedia and multispecies reimagining splinters the opera’s Italian libretto. Alongside English and Greek versions, it is translated into some of the world’s most phonetically complex languages—Abkhaz, San Juan Quiahije Eastern Chatino, Silbo Gomero, and !Xoon—and Ovid’s original Latin. In this process, the narrative—and an artifact of Western culture—is dismantled, metabolized, and rendered into unruly utterances that shape the sensorium as much as they do the capacity for sense-making. These voices are given material form by a cast of mycelium sonic sculptures whose rhizomatic compositions and broadcasted recordings resemble the formation and mutation of language over time, reconstituting speech into a new, polyphonic body politic, composed of voices whose striking, poetic utterances transfix and transcend meaning.

With a preface by the artist, libretti, and an essay by Anahid Nersessian.

Katharina Grosse's painting practice is a phoenix from the ashes of late Modernism, appending themselves to the Greenbergian cul de sac in an uncanny manner. Since 1998 Grosse has been using a compressed-air spray gun to apply garish swaths and splashes of undulating color directly to gallery walls, floors and ceilings with sublimely spectacular results. Abandoning painting's traditional means of support, however, is simply a step toward getting at the real stakes, which for Grosse is color's liberation from surface. To underscore this point, Grosse began incorporating a range of relief elements into her work – furniture, clothing, solid geometric forms, stones, mounds of earth. Grosse's palette, however, is saturated to the point it threatens one's ability to perceive form and/or space. In her installations, color acts independently of the surfaces to which it is applied. Her work extends painting's modernist logic so that color reified in painting becomes color reified frompainting. Atoms Inside Balloons was Grosse's first foray into spray-painting balloons whose temperamental nature made it a genuine experiment. In addition to the occasional explosion, there was also the slow loss of pressure causing the balloons to sag and even eventually fall to the floor. The more than 100 color photographs in this catalogue document the continually changing balloon installation, and at the same time document the unchanging ability of Grosse's color to override all such qualities as shape and volume. In addition to this wealth of photographs, the book contains essays by Nana Last, Professor of Architecture at Rice University, and David Hilbert, Associate Professor of Philosophy at the University of Illinois at Chicago. Last analyzes the unique relationship of architecture and painting in Grosse's practice. Hilbert situates her work within the tradition of philosophical inquiry into the nature of color.

Maja Lisa Engelhardt is a Danish painter best known for her abstractions. Inspired by the landscapes of her childhood home in the coastal region of Zealand in Denmark, Engelhardt channels her memories of a difficult childhood and her Christian spirituality to create loosely geometric, cumulus paintings. There is often a bright white or dark mass in the center of her canvases, portraying an inner light, or darkness, which hints at representation without ceding qualities of abstraction. “I hope that my images are universal and metaphysical visions of light, air, soil and ocean,” the artist has said. “These are abstract snapshots instead of concrete illustrations of biblical acts." Born on May 2, 1956 in Frederiksberg, Denmark, she grew up on the Odsherred peninsula with abusive parents and two younger sisters. After graduating from the Funen Art Academy in 1980, she moved to a suburb of Paris, where she began her career and received immediate recognition. Engelhardt’s works are in the collections of the Ball State Museum of Art in Muncie, Indiana and the National Gallery of Denmark in Copenhagen, among others. The artist lives and works in Paris, France.

This is a catalog of her work, produced by Elizabeth Harris Gallery and printed by Narayana Press in Denmark.

This publication accompanies the exhibition Michael Luchs: Fictitious Character at the Museum of Contemporary Art Detroit, on view from May 11 through July 29, 2018. 99 pages, hardcover.

Michael Luchs, Untitled Rabbit #11 (Wall Construction), 1977 (detail). Oil paint, wire, collage on plywood. Courtesy of the artist and from the collection of Gayle and Andrew Camden.

The documentary nature of Latin American photography has brought clarity and artistic appreciation to the countries of the region since the camera arrived in the 19th century. The photographers of Brazil, Colombia, Cuba, Guatemala, Mexico, and other nations have captured the traditions, societal changes, urban and natural landscapes, and varied architecture of their countries. Selected from Santa Barbara Museum of Art's permanent collection, 'Looking In, Looking Out: Latin American Photography' investigates the cultures and histories of various Latin American countries through the lens of nostalgia, propaganda, a populist aesthetic, and evolving perspectives. Published in cooperation with the Santa Barbara Museum of Art in conjunction with their exhibition of the same name opening in October 2015, this book will be an important addition to the literature available on Latin American photography. 'Looking In, Looking Out: Latin American Photography' presents work by twenty photographers that spans some 80 years. It opens with an insightful introduction by Delphine Sims, putting the photographers and their work into an historical, aesthetic and sociological perspective.

Maja Lisa Engelhardt is a Danish painter best known for her abstractions. Inspired by the landscapes of her childhood home in the coastal region of Zealand in Denmark, Engelhardt channels her memories of a difficult childhood and her Christian spirituality to create loosely geometric, cumulus paintings. There is often a bright white or dark mass in the center of her canvases, portraying an inner light, or darkness, which hints at representation without ceding qualities of abstraction. “I hope that my images are universal and metaphysical visions of light, air, soil and ocean,” the artist has said. “These are abstract snapshots instead of concrete illustrations of biblical acts." Born on May 2, 1956 in Frederiksberg, Denmark, she grew up on the Odsherred peninsula with abusive parents and two younger sisters. After graduating from the Funen Art Academy in 1980, she moved to a suburb of Paris, where she began her career and received immediate recognition. Engelhardt’s works are in the collections of the Ball State Museum of Art in Muncie, Indiana and the National Gallery of Denmark in Copenhagen, among others. The artist lives and works in Paris, France.

This is a catalog of her work, produced by Elizabeth Harris Gallery and printed by Narayana Press in Denmark.