Text by Dung Ngo, Darrin Alfred, and James Zemaitis. Published on the occasion of the homonymous exhibition on view at R & Company from April, 25 to June, 15, 2017. Ali Tayar: Systems & One-Offs features graphic design by MEMO NY.

In this frank and provocative conversation, Thom Andersen and William E. Jones explore an expansive number of topics in relation to their respective film and art practices, among them: the advent of HD technology; experimental filmmakers and their strategies; Los Angeles; ''militant nostalgia;'' Jesus as revolutionary; the limitations of the art world; art criticism; gay culture; William Morris; and ''the Reagans at church.''

Part of the Between Artists series.

Published on the occasion of her first solo show in the United States in twenty years, Anna Oppermann: Drawings surveys the early drawings of this underrecognized German artist. Co-published with the Carpenter Center for the Visual Arts, this book is the first on Oppermann produced in the United States and features a number of new texts on her work by Connie Butler, Chief Curator, Hammer Museum, UCLA; Meta Marina Beeck, Assistant Curator, Kunsthalle Bielefeld; and a conversation between Carpenter Center director Dan Byers and Ute Vorkoeper, Curator, Anna Oppermann Estate.

Beginning in the mid-1960s through the early ‘70s, Oppermann (1940–1993), best known for her immersive installations, created an astonishing series of surreal drawings that uniquely explode the private space of the home, a traditionally feminine sphere.

These early drawings contribute to a feminist re-centering of such spaces associated with women, casting everyday objects as symbolic, consequential protagonists: houseplants sprawl to take over the picture plane, windows and mirrors provide views into other worlds, and tables display drawings that open out into new domestic scenes.

By placing her own body—her knees, arms, the back of her head—as reference points in the work, Oppermann coaxes the viewer to take on her subjectivity and perspective, emphasizing the gendered realms of the home and the relationships that we form both within and to our private spaces.

"The disparate photographs assembled here were made over the course of twenty years. None of them were originally intended to be used in this book. By ordering and shaping them I tried to investigate the possibilities of narrative both within a single image and especially in relation to the other photographs. A Storybook Life is an attempt to discover the possibilities of meaning in the interaction of seemingly unrelated images in the hope that content can constantly mutate according to both the external and internal condition of the viewer, but remain meaningful because of its inherent, but latent content. The conscious and subconscious decisions made in editing the photographs are the real work of A Storybook Life." —Philip-Lorca diCorcia

Seeing and imagining music in a pandemic: a dialogue of found scenes and inspired sounds between two protagonists of experimental music

Known for his ability to locate music and sound in the most unexpected contexts, artist Christian Marclay (born 1955) began photographing the emptied London streets when the world shut down in the spring of 2020. He found the quiet―the absence of all the city sounds―both haunting and peaceful. On his daily walks, he began to imagine that there might be music in the landscape. He snapped a photo of an iron gate adorned with decorative white balls as it reminded him of a musical score. He sent it to his friend, the composer Steve Beresford (born 1950), and asked: “How would this sound on the piano?” Beresford responded a few hours later with a recording. Over the course of the spring, he took more photographs which inspired more music.

This book collects the dialogue between Marclay and Beresford, which could only take place virtually during lockdown. In his introduction, Marclay writes, "I realized that all my pictures were of enclosures: gates, fences, windows, closed stores. A view of the world behind barriers." The correspondence between image, sound and its notation breaks through those barriers, expanding space in magical ways. Call and Response is a testament to how the world at large can be not only reflected in image but translated into sound.

“The above named patient was certified for 14 days involuntary treatment pursuant to section 5250 et. seq. of the California Welfare and Institutions Code. The certification was on the basis of one or more of the criteria specific by law; danger to self, danger to others, or grave disability (strike out inapplicable).” Blurring the line between the physical and psychological, personal and professional, 2 220 is an archive of both art supply and medical bills from Daniel Turner’s life. when seen side by side along with a series of stark, clinical installation shots, the experiences documented on each scrap of paper becomes neutralized and intertwined, assuming equal meaning.

Adam Gilders was a virtuoso of the deadpan prose miniature. He published his stories in The Paris Review, The Walrus, Sunbird and J&L Illustrated, before passing away in 2007, at the age of 36, of a brain tumor. Another Ventriloquist collects Gilders' previously unpublished vignettes. A gem of concision and wit.

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

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

This illustrated artist's book is the largest and most ambitious publication yet produced by the Los Angeles-based video artist and photographer Doug Aitken – an artist known for his groundbreaking publications. Featuring a short text by Heidi Zuckerman Jacobson, Director and Chief Curator of the Aspen Art Museum, it focuses on Aitken's still images, more than half of which have never been reproduced before. Known primarily for his multi-screen video installations, Aitken has gained international recognition for his immersive explorations of the experience of time and location. His exhibition at the Aspen Art Museum was the first dedicated solely to his photography. From nighttime cityscapes to deserted gas stations, airports and bus depots, Aitken's dreamlike photographs contain the same spatial and temporal dislocation and narrative suggestion as his installations.

Burgoyne Diller: Collages documents an exhibition consisting of forty-three collages from 1935 through 1965. The collages reflect Diller’s evolution from pure Neo-Plastic compositions of the 1930s to his final studies for minimalist sculpture executed during the 1960s.

Burgoyne Diller was a pioneer of American abstraction and is among the most significant American artists devoted to geometric abstraction. Burgoyne Diller’s earliest abstractions pay homage to Neo-Plastic aesthetics in the tradition of Piet Mondrian, but in the 1940s his work evolved into a very personal, spiritual, and more simplified geometric expression of line and color. As a result, Diller is the vital link between American abstraction of the 1930s and minimalism of the 1950s and 1960s epitomized by artists Donald Judd, Ellsworth Kelly and Myron Stout.

During the late-1920s, at the age of twenty-two, Burgoyne Diller moved from Michigan to New York City, where he began studying at the Art Students League. In 1934, he became employed as an easel painter by the Public Works of Arts Project (PWAP) and in 1935, he was appointed to the influential position of Director of the New York City WPA/FAP Mural Division. In 1937 he was one of the founding members of the American Abstract Artists group, although his official affiliation with this group was short lived. From 1946 until his death in 1965, Diller was a professor at Brooklyn College, where he taught with Ad Reinhardt. Through his lifelong roles as a mentor, Diller influenced countless artists and played a vital role in encouraging the public to embrace abstract art. As Diller expressed, abstraction was "the ideal realm of harmony, stability and order in which every form and spatial interval could be controlled and measured."

In 1990 the Whitney Museum of American Art mounted a major retrospective of Burgoyne Diller. He is represented in numerous museum collections including The Art Institute of Chicago, Solomon R. Guggenheim Museum, Hirshhorn Museum and Sculpture Garden, The Metropolitan Museum of Art, The Museum of Modern Art, New York, and the Whitney Museum of American Art.

Charles Sheeler (1883-1965) created paintings, lithographs, and photographs that reflected his aesthetic interest in industrial scenes of the early 20th-century American landscape. After training in industrial drawing, he became the major exponent of Precisionism, a style of painting that emphasizes clean-cut lines, simple forms, and large areas of flat color, creating a sense of order and ''precision'' to reveal how the lines of industrial architecture structure psychological experience. The catalog includes an introduction by Carol Troyen.

Benjamin Patterson: Born in the State of FLUX/us is a retrospective of the artist's career, which now spans nearly fifty years. The exhibition includes both early and recent work that range from annotated scores and books to painting and sculpture. As a founding member of Fluxus–a loose and international collective of artists who infused avant-garde practices of the day with humor and anarchic energy–Patterson helped revolutionize the artistic landscape at the advent of the 1960s and usher in an era of new and experimental music.

Sculpture is an exhibition catalogue of new work by Charles LeDray; it includes twelve new sculptures, as well as a fourth installment of his ongoing project Village People. Fabricated from a long and varied list of materials, LeDray’s sculptures—whether presented individually or collectively in parts—challenge notions of scale. These works, however, offer little or no indication of the complex processes by which they were created. The media for one work alone include: acrylic paint, Alumalite, brass, embroidery floss, epoxy resin, glitter, various fabrics, oil-based enamel paint, gold-plate, rhodium-plate, patina, paper, pearlescent paint, plastic, sawdust, SO Strong coloring, steel, string, thread and wood. When the extensive labors undertaken in the making of each sculpture are understood, the works take on an astonishing quality in their opposition of the familiar and the irrational. This impressive group of new works further emphasizes Ken Johnson’s statement that “LeDray is one of those rare artists who bring to art-making no ideological program but only an acutely personal way with materials and a fabulously unpredictable imagination.”

This is an exhibition catalog of Boris Lurie in Habana at the Museo Nacional de Bellas Artes in 2017.

Boris Lurie was an American artist and writer. He co-founded the NO!Art movement which calls for socially and politically involved art that would resist and combat the forces of the market.

Artist and writer Robert Seydel often used various personas and fictional constructs in a vast and multi-layered body of work that incorporated collage, drawing, photography, narrative and lyric writing. His primary alter ego Ruth Greisman made hundreds of exquisite collages, a selection of which Seydel collected in the artist’s book Book of Ruth (Siglio, 2011). As Ruth, Seydel explores the boundaries between the salvaged and the lost, the unknown and the unknowable, art that is made and art that is found. A Picture Is Always a Book is a first-person, fictional archive, collecting over seventy of Ruth’s “journal pages,” luminescent and startlingly original writings—typed up on paper purloined from old photo albums, adorned with drawings in colored pencils, oil pens, white-out and ink stamps—that penetrate Ruth’s consciousness with visceral honesty and poetic precision. With the acrobatics of her emblem the hare, Seydel’s Ruth makes leaps from the banalities of her daily life into an expansive, alchemical imagination that embraces the shape-shifting of meaning, the occult in letters, and the magical invocations of animals—domestic and hallucinatory. For Ruth, the creation of self is tenuous, the artistic impulse implacable, and the distance between the ecstatic and melancholic “infra-thin.” She writes, “I’ll invent who I am, against what is. My time and name: a Queens of the mind.”

A Picture Is Always a Book accompanies the exhibition “Robert Seydel: The Eye in Matter,” which will open at the Queens Museum of Art in July 2015 and the Center for Paper and Book Arts at Columbia College Chicago in 2016. The exhibition debuted at Smith College Neilson Library in Fall 2014.

"Burrowing into the pop-detritus archive somewhere between Ray Johnson’s mail art and Tom Phillips’s Humument project, Seydel’s Book of Ruth describes an allusive fantasy about his aunt and alter ego Ruth Greisman, her brother Saul, and their escapades with Joseph Cornell." —The New Yorker

Addressing contemporary international art beyond glib expressions of globalism, Brave New Worlds assesses the current state of political consciousness and its multivalent artistic manifestations in an era characterized by the unraveling of a unified world order. Guided by the questions ''How do we know?'', ''How do we experience?'' and ''How do we dream about the world?'', 24 artists from Southeastern Europe to South America, from the Middle East to East Asia and from North Africa to North America propose their own answers in paintings, drawings, sculptures, installations and videos. The catalogue includes several brief ''correspondent'' essays, inspired by newspaper reports and penned by an international cast of young art historians, critics and curators, including Max Andrews and Mariana Canepa Luna (Spain), Cecilia Brunson (Chile), Hu Fang (China), Tone Hansen (Norway), Mihnea Mircan (Romania) and Jose Roca (Colombia). Recent texts by philosopher Kwame Anthony Appiah, celebrated author and activist Arundhati Roy and award-winning foreign correspondent Janine di Giovanni provide additional perspectives on global affairs of the past decade. In addition, Brave New Worlds features an artist insert by Lia Perjovschi of Romania, entitled ''Subjective Art History from Modernism to Today,'' and entries on each individual artist. This publication is fully illustrated with color and black and white images. As implied by its title, Brave New World contains a broad spectrum of images and content dealing with politics, power and social behaviors. Some content may not be appropriate for all ages. Walker Art Center, 2007 8 x 11 inches, 290 pp., illustrated Softcover, ISBN 0935640894

This is a catalog published in conjunction with the exhibition New Work: Christopher Wool at San Francisco Museum of Modern Art from July 6 to September 3, 1989 as part of the series by New Work to show work by younger and established artists.

Rodrigo Quijano’s An Inherent Tear assembles a suite of poems first published in Lima in 1998 as Una procesión entera va por dentro and his 2014 essay “A Terrace in Valparaiso,” translated into English for the first time by Judah Rubin. Written during the Fujimori years of the 1990s—a period characterized by the end of the conflict between the Maoist Sendero Luminoso insurgency, the Peruvian army, and the Marxist-Leninist Túpac Amaru Revolutionary Movement—Quijano’s bracingly mournful and incisively wry poems insist that we not turn away from the unburied dead. Shifting between neo-baroque hermeticism and a poetics of the conversational, his work destabilizes lyric subjectivity, testing the limits of the structure of metaphor to relay the impasses of the present. Reflecting almost twenty years later from the “city of wildfires,” Quijano’s essay charts the continued landscape of state violence that carries with it the “payroll of bones” Cesar Vallejo evoked nearly a century earlier. In this new, searing collection, Quijano searches amid the smoke and the ashes for “A place to spend the night, / or a language to speak in, / walking through the desert, or drilling into our / insubstantial dreams.”

A photography book by Colin Snapp. Includes a text by Fionn Meade.

A novel concerning a nameless male protagonist whose existence and experiences are communicated through a series of short vignettes. Written in paired down language, everyday objects and occurrences take on surrealistic significance through unexpected combinations, evoking the peculiarity of Magritte’s paintings.

Chase-Riboud was born in Philadelphia and trained in art and architecture at Tyler School of Art at Temple University, the American Academy in Rome, and Yale University. After receiving her M.F.A. from Yale, she moved to Paris, where she quickly garnered attention for her abstract, surrealist figural sculptures and drawings. In 1969 Chase-Riboud began her groundbreaking series of Malcolm X sculptures, in which she combines undulating cast bronze forms with knotted and braided fiber elements. The imposing sculptures, named in memory of the assassinated civil rights leader, set material and thematic opposites into dynamic interaction—bronze and silk; fixed and flowing; hard and soft; brash and hushed; monumental and intimate.

These six large-scale paintings, dating from 1953–54, comprise a pivotal and formative series in Al Held’s work, made when he had recently returned to New York from a three-year course of study in Paris. This exhibition catalog includes an essay by Robert Knafo.

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

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

This pocket-sized edition reprints articles originally published in the experimental music journal Source that relate to the creation of music through human brain alpha waves. The introduction defines bio-music as “the term used by ORCUS research to describe a class of electronic systems that use biological potentials in feedback loops to produce powerful, predictable, repeatable, physiological / psychological states that can be controlled in real time.” The research on employing sensory stimulation towards the creation of time-rhythmic sequences is imbued with an utopian desire to create art that reaches towards a deeper human consciousness.

This is a catalog for the exhibition Boris Lurie NO! at the Janco Dada Museum from June 25 to November 23, 2016.

Allan McCollum reviews his work from the 1970’s to the present and discusses his ongoing obsession with the question of what makes an object an “art object.” McCollum is best known for his multiples, which by sheer power of replication force us to rethink notions of identity and uniqueness. The artist is interviewed by Thomas Lawson. McCollum: “We live in a world filled with substitutions for things that are absent, since every copy, in a certain sense, only exists because the original is gone. So copies are always about something absent, and in that way, they carry a sense of mourning, death, or loss.”

Josh Smith's work focuses on themes of authenticity and authorship. He first became known for paintings in which he used his name as a motif on the canvas–an act of ironic self-marketing. In his series Abstraction, Smith creates archetypes from abstract paintings, airy compositions in lively colors. Although he takes a stylistic cue from the Abstract Expressionist school, Smith's unusual color combinations and cartoon-like forms retain little of this weighty background. His appropriations from abstract painting are quite direct, and endow this artistic tradition with a refreshing lack of pretension. The first volume of this slipcased set features Smith's Abstraction series paintings; the second features his palette paintings–palettes on which the artist has squeezed out his brushes, pursuing a completely straightforward aesthetic of simple forms. An accompanying text booklet contains an interview with the artist. Luhring Augustine, 2007 10.5 x 13.5 inches, 280 pp., color illustrations Softcover, 2 volumes in slipcase, ISBN 978-3935567442

Reader is the first anthology to gather Constance DeJong’s diverse body of writing. Spanning from the 1980s to the present, the publication features eighteen works by DeJong, including out-of-print and previously unpublished fiction, as well as texts emanating from her new media sculptures, sound works, video works, and public art commissions.

An influential figure of the 1970s and ’80s downtown New York writing and performance scene, Constance DeJong has channeled time and language as mediums in her work for the last four decades, expanding the possibilities of narrative form and literary genre. From the earliest work collected here—a manuscript of DeJong’s 1982 prose text I.T.I.L.O.E.—to the digital project Nightwriters (2017-18), Reader assembles a range of experimental texts by the artist. The volume includes such works as the 2013 publication and performance, SpeakChamber and the script for Relatives (1988), a duet between a television and a performer made in collaboration with artist Tony Oursler. Never-before-published works including texts created for re-engineered vintage radios, aphorisms commissioned for a Times Square digital billboard, and transcripts for sound works originally installed along the Thames and Hudson rivers are also featured in the book.

Taken together, these works showcase how DeJong has helped define and push the boundaries of language in the visual and performing arts. The artist’s sustained exploration of language blurs the lines between many fields, and DeJong’s work has also had a long life in the literary world. In the late 1970s, she self-published the critically acclaimed novel Modern Love on her short-lived Standard Editions imprint. On the 40^th anniversary of the novel’s original publication, the book was published in facsimile form by Primary Information and Ugly Duckling Presse, and has gone on to sell over 10,000 copies since its release in 2017.

Contains forty color reproductions of the work of important and under-recognized women artists from the Albright-Knox’s Collection. This collection is accompanied by an index of paintings, tabbed sections, and introductory descriptions of key works.

Ronaldo V. Wilson’s Carmelina: Figures excavates the territory between memory, nation, and embodiment, exploring place as a discipline of the body and an extension of the hand. Through poems, photographs, drawings, records of performance, and home movies recorded in Guam, Tennessee, and the Subic Bay between 1962 and 1979, Wilson reckons with familial heritage, diaspora, and legacies of militarism.

The book pays homage to Wilson’s mother, Carmelina, who served for most of her working life as a certified nursing assistant at Florin Convalescent, an assisted living facility in South Sacramento, California. A glut of signals and media recovers Carmelina’s vivid and urgent experience of exile from the Philippines to marry Wilson’s father—a Black American soldier—being disowned, and before that, of her parents’ assassinations during the Japanese Occupation. Through a visual logic of repetition and reenactment that works to unmoor sensory expectation and narrative logic, Wilson renders her figure as trace, melody against paper, drawing within song, mixed media, dance, and through improvised, masked, and recorded performances in the Berkshires, MA; Long Island, NY; Emeryville, CA; and Boulder, CO. Carmelina: Figures is a book of the Psoas, ice, smudge, and light.

Includes a text by Barbara Stern Shapiro Craig F. Starr Gallery, 2009

The 2006 exhibition, Belief and Doubt featured seven artists exploring belief in a spiritual practice as part of an intellectual discourse: Slater Bradley, Paul Chan, Sarah Charlesworth, Adam Chodzko, Julie Mehretu, Brent Steen, and Artur Zmijewski. As Zuckerman Jacobson states in her catalog essay: ''Contemporary references to God–rather than to organized religion–in visual and popular culture are varied and wide ranging. Belief and Doubt is an attempt to examine this phenomenon while reclaiming belief as a highly personal and idiosyncratic practice–one that deserves the opportunity for reflection outside of politics and the popular media.''

This is a catalog of the first exhibition in New York of art from the Boris Lurie estate. It will take place at the Chelsea Art Museum, from 26 March 2011 until 15 May 2011. The show will inaugurate a series of exhibitions devoted to the NO!art Movement and its members and affiliates, as well as other long-neglected or suppressed humanist strains in the art of the latter half of the Twentieth Century. The vitriol and fury of Lurie and his cohorts still runs in the veins of their art fifty and more years after it was created; it is as fresh, powerful, and, remarkably, beautiful, as it was in the cultural near-vacuum in which it was created. Lurie is one of the legendary figures of the East Village avant-garde of the fifties and sixties, a resistor against the institutional structure of art in his day and what he called the “investment art market” and one of the powerful voices for humanity in an art world officially devoid of political or social awareness.

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

In this body of drawings, Chuck Close uses various media including pastel, conté crayon, stamp-pad ink, graphite, and watercolor, as well as unusual media such as his own thumbprint, in intricate grid formats. An interview conducted by Joe Zucker discusses the role of the expressive mark in representational art and the artist's influences in the 1970s. Craig F. Starr Gallery, 2010 9 x 7 inches, 36 pp., illustrations Softcover, no ISBN

Initially a prominent member of the De Stijl group with Piet Mondrian and Theo van Doesburg, César Domela's approach evolved into three dimensional abstraction described as ''enriched Constructivism.'' His harmonious integration of materials forms a transcendent visual polyphony. Each individual material was chosen after extensive, almost obsessive, consideration of its physical properties of color, texture, opacity, sheen, and what musicians refer to as ''timbre,'' a specific resonance. RAM Publications, 2007 136 pp., illustrations Harcover, ISBN 393685968X

“… I came to the city in 1976 and painting was a pretty narrow place—Minimalism was king and the unspoken rule seemed to be that an artist was supposed to find his or her image and stick to it. Then in the 1980s, when Schnabel, Basquiat, and all the Europeans arrived, the whole scene opened up and I started to embrace my own practice. The artists who I admire the most seem to be able to bring whatever is happening in the world and in their own lives directly into their work.” Published on the occasion of Martin’s 2014 solo show at Anton Kern Gallery, this book includes full color plates of the artist’s large, ethereal glitter paintings made in upstate New York as well as forty photographs documenting the period during which the work was created.

Both Ends Burning documents an exhibition of new work by Amy Bessone, Thomas Houseago, Matthew Monahan and Lara Schnitger. Bessone, Houseago, Monahan and Schnitger are dedicated to exploring and challenging notions of the figure. Finding a lack of rigor in current trends regarding figuration they look to face their practices without ironic distractions. Together they have decided to take a no-holds-barred approach to their work and find territories not before explored. Each artist confronts figuration from different angles and with various techniques. In this exhibition they continue this dialogue and the intertwining narratives between their work. Thomas Houseago, Matthew Monahan and Lara Schnitger will each be presenting new sculpture and Amy Bessone will show new paintings. Includes an interview with Amy Bessone, Thomas Houseago, Matthew Monahan, Lara Schnitger, and David Kordansky.

By stripping the painting down to its basic rules, and by using himself as a decisive subject matter, Albert Oehlen created a body of work that diminished the limitations of previous cultural, aesthetic, and artistic obligations made on a painter and painting. This first volume to feature all of Oehlen's early self-portraits reveals his balancing of figuration with abstraction, and his simultaneous questioning of the practice and history of art. The book contains an interview between Albert Oehlen and Rainald Goetz, in German and English translation. Luhring Augustine, 2002 7 x 12 inches, 84 pp., color illustrations Hardcover, ISBN 9780970909015

One is born with talent or with genius, but one makes himself an artist. Nothing is more difficult than this process of becoming an artist. For no matter how profound the instincts of the young artist, society and American folk ways are a strong befuddling drink: the creative road is strewn with wrecks, a veritable junk yard of old rusted bodies. – Clifford Odets, 1940 Known as a legendary cultural figure for his significant contributions to the American theater, Odets produced a remarkable body of paintings on paper from 1945 to 1956. Inspired by modern masters like Picasso, Matisse, Magritte and Klee – artists whom he admired and collected – Odets created magical scenes on sheets of writing paper. Odets worked at night while suffering from insomnia and writer’s block, and his paintings reveal his complex psyche. The exhibition is titled after Odets’ successful 1936 play, Paradise Lost, and his painting of the same name, which is the only visual work he created that shares a title with one of his dramatic works. The exhibition will include approximately forty paintings on paper that are colorful, anecdotal, disturbing, sexually charged, and humorous. His portraits expose a “punitive parent,” a “low comic,” and “the hermit” while fantasy landscapes capture both urban and rural America.

What makes something a work of art? This was the question that philosopher Arthur C. Danto (1924–2013) asked himself after seeing Andy Warhol’s Brillo Box at a 1964 exhibition at the Stable Gallery in New York City. The philosophy of art was not Danto’s primary area of inquiry at the time, but Warhol’s work prompted him to return to this question over several decades. Danto, professor of philosophy at Columbia University since the 1960s and art critic at The Nation from 1984 to 2009, delivered the previously unpublished lectures presented in this volume at the Acadia Summer Arts Program in Mount Desert Island, Maine, from 1997 through 2009. They explicate the ideas that he set forth in professional philosophical papers and books, including The Transfiguration of the Commonplace (1981), which describes his philosophy of art. Informal yet deeply thought-provoking, these lectures explore how Danto analyzed art through a philosophical lens, yielding an approach that differs from most other contemporary art criticism. Danto’s thoughts on art go beyond formal analysis and taste judgments, instead focusing on questions about the nature of art and attempting to define what a work of art is. These lectures present some of his most notable ideas in terms that those with no training in philosophy can readily understand.

Bruce Conner (1933-2008) first came to prominence in the late 1950s as a leader of the assemblage movement in California. Conner had close ties with poets of the San Francisco Renaissance (particularly Michael McClure) as well as with artists such as Wallace Berman, George Herms, Jess and Jay DeFeo. Conner's use of nylon stockings in his assemblages quickly won him notoriety, and saw his work included in Peter Selz's classic 1961 Art of Assemblage show at MoMA. Around this time, Conner also turned to film-making, and produced in swift succession a number of short films that helped to pioneer the rapid edit and the use of pop music among independent film-makers. Conner's innovative editing techniques and decidedly dark vision of American culture laid the foundation for later Hollywood directors such as Dennis Hopper (a friend and collaborator of Conner's, who frequently acknowledged his influence) and David Lynch. A long overdue and significant addition to the understanding of twentieth-century American art and cinema, 2000 BC:

The Bruce Conner Story Part II represents the most comprehensive book to date on Conner's work from the 1950s to the present. The authors elucidate Conner's work in film, assemblage, drawing, printmaking, collage, and photograms, as well as his more ephemeral gestures, actions, protests and escapes from the art world. This beautifully designed clothbound monograph is a landmark publication for anyone interested in contemporary art, film, culture and the Beat era.

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

The work of Nicolás Guagnini and John Kelsey manifests itself in distinctly different forms; yet the two share an affinity for playing with the roles and structures of the art world. The conversation includes discussions of some of their recurring topics and themes: gossip, the jeune-fille, institutional critique, the abject, humor and their participation in collaborative ventures (Orchard and Union Gaucha Productions for Guagnini and Reena Spaulings and Bernadette Corporation for Kelsey). The publication is part of A.R.T. Press's Between Artists conversation-based series.

Cary Malone by Wayne Lindberg is a collaboration with artist Jonathan Monk, was published by Nothing Moments Press in the fall of 2007. Short stories included in this book are Cary Malone, Vector, Mind Workers, The Gargoyle, Outlaw, Succession Plan, Film Festival, Man-candle, Dead Puppy Love, The Good Times, She Didn’t Know, Oh Well, POP Psych, The Old Afternoon and No Brainer. Book design by Linda Byrne.

Wayne Lindberg is an author from Los Angeles.

3 Short Stories About Love Other Creatures of the Deep by Ben Ehrenreich is a collaboration with artist Tim Ebner and was published by Nothing Moments Press in the fall of 2007. The three stories included are titled: "Love (II)," "The Magic Carp: A Fairy Tale Playing 19 Acts," and "Afternoon The Disaster (A Love Story)".

This book is cleverly designed to look and feel like a science text book mimicking the sea creature themes, but the stories are more about love in the murky depths. Ben Ehrenreich is an American freelance journalist and novelist who lives in Los Angeles. Ehrenreich began working as a journalist in the alternative press in the late 1990s, publishing extensively in LA Weekly and the Village Voice. His journalism, essays and criticism have since appeared in Harper's, The New York Times Magazine, The Nation, the Los Angeles Times, The Believer, and the London Review of Books.

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

Abu Jildeh and Al-Armeet looks at anti-colonial insurgency in Palestine through the story of the Abu Jildeh bandit gang, a group of farmers from the greater Nablus region who rose up against the British colonization of Palestine. From roughly 1931 to 1934, the band resisted both the British occupation and Palestinian feudal landlords, before they were eventually caught and executed by the British army. Their rebellion, amongst others, paved the way for the 1936 Revolt, a mass uprising against the British colonization of Palestine and the planned Zionist colonization outlined by the Balfour Declaration of 1917. Although the 1936 Revolt was ultimately crushed, it presented a formidable challenge to the British Empire. Its echoes still reverberate today.

A historical narrative unfolding through text, drawings, and archival documents, this book, first published in 2017, is now reprinted in a new edition augmented by an English-language translation. -Publisher

Edited by the Ma’touq Collective; Translated by Jumana Kayyali and May Jayyusi.

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

Common Love, Aesthetics of Becoming is published in conjunction with the eponymous exhibition on view at the Wallach Art Gallery April 27 through June 11, 2011. The exhibition features alumni from the Columbia University Visual Arts Program.

More than a show of the greatest hits from the last ten years, Common Love intervenes in a moment in contemporary art when love is at stake. The essays in Common Love, Aesthetics of Becoming take up the question of love in various ways. The point of departure is Michael Hardt and Antonio Negri's discussion of love in Commonwealth, excerpts of which were published in the October 2009 issue of Artforum. Hardt and Negri argue for a love that moves beyond identification (e.g, with the nation state) and beyond an idea of unification (e.g., as with romantic love). More related to art practice per se, art critic George Baker alludes to love when describing the sharing of forms: how film becomes sculptural, for example, or how painting moves toward a sculptural condition. Common Love, Aesthetics of Becoming is published by the Miriam and Ira D. Wallach Art Gallery. The catalogue features fully illustrated essays, as well as a transcript of Michael Hardt's round table discussion with the curators. Contributors include Kaira M. Cabañas (editor), Gregory Amenoff, Robert E. Harrist Jr., Tomoko Kanamitsu, Kristen Chappa, Donald Johnson-Montenegro, and A.E. Benenson.

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

Charles G. Shaw represents a landmark exhibition featuring thirty five major paintings from the 1930s and 1940s. Charles Green Shaw (American, 1892-1974) was a preeminent American abstract artist whose painting and writing contributed greatly to the social, artistic, and cultural dynamism of America. Shaw’s enormous range of subject matter and his dynamic approach to style have made him one of the most popular abstractionists of his time. Over the last eighty years, his work has been the subject of numerous solo exhibitions, most recently in 1997, at The Whitney Museum of American Art. His work can be found in major modern museums across the United States including the Museum of Modern Art (NYC), Metropolitan Museum of Art, Solomon R. Guggenheim Museum, Art Institute of Chicago, and San Francisco Museum of Modern Art. Charles Green Shaw died in New York City in 1974 at the age of 82. Michael Rosenfeld Gallery, 2007 Hardcover, 96 pgs No ISBN

This is an exhibition catalog of Boris Lurie in Habana at the Museo Nacional de Bellas Artes in 2017.

Boris Lurie was an American artist and writer. He co-founded the NO!Art movement which calls for socially and politically involved art that would resist and combat the forces of the market.

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

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

Between The Frames: The Forum, by the Spanish born artist Antoni Muntadas, offers a collective portrait of the people and institutions influencing what art is presented and how the art reaches the public. Muntadas began working on Between The Frames: The Forum in 1982, and over the following decade he compiled interviews with more than 100 distinguished representatives of the art worlds of North America, Western Europe, and Japan. These interviews were grouped by Muntadas into eight video “chapters,” corresponding to sectors within the art world: “ The Dealers,” “The Collectors,” “The Galleries,” “The Museums,” “The Docents,” “The Critics,” “The Media,” and an “Epilogue” featuring commentary by artists themselves. This catalogue, published on the occasion of the exhibition, includes essays by Wexner Center Curator of New Media Bill Horrigan and independent curator Debra Balken.

Ali Banisadr is a painter known for complex, engaging and enigmatic paintings of semi-abstract forms. Drawing references from various art historical traditions – Persian miniatures, abstract expressionism, and surrealism – Banisadr's paintings present evocative visual narratives. This catalogue was published on the occasion of the exhibition “Ali Banisadr: Trust in the Future,” presented at Sperone Westwater, New York, 4 May – 24 June 2017.

Essay by Lilly Wei.

The 560 page publication is a substantial archive and a singular point of entry with which to understand Andrea Fraser’s work and reception. The interview format provides intimate insight into Fraser’s self-positioning as a central aspect of her practice. By presenting the artist’s voice as mediated through interlocutors ranging from professional peers to popular media, it uniquely contextualizes Fraser’s practice in the artistic, institutional, and discursive fields in which she intervenes. As Fraser is engaged, challenged, and often misunderstood, from diverse perspectives, readers learn as much about her artistic commitments from the artist’s humor and affect as from her incisive analysis.

he collection spans three decades, from the early '90s to the present, and is organized chronologically with minimal editing. Its unmediated format allows Fraser’s key ideas and themes to attain deeper resonance through repetitions and subtle differentiations over multiple conversations. Andrea Fraser Collected Interviews 1990-2018 exemplifies the ways in which artistic strategies can question and recast social norms at an individual and institutional level. This collection is a singular resource for all who are concerned with art’s social roles in the broader public sphere.

Edited by Rhea Anastas, Alejandro Cesarco, and Andrea Fraser.

Designed by Scott Ponik