Jubliee is Ted Fair's first book, comprised of color photographs taken between 2000 and 2003 across the United States. The selection of photographs is meant to be read as one would read the lines of a poem; each image offering a perspective on the one before, and one following. The result is an oblique window into Fair's world, and a tender picture of contemporary suburban and rural American life. Ted Fair was born in Valley Forge, Pennsylvania in 1970. He now lives in Brooklyn, NY where he surveys buildings for an architectural restoration company.

A playfully exploration of internal and external judgements during early motherhood and breastfeeding. With an essay by Rae Jacobson and drawings by artist Natalie McLaurin.

Natalie McLaurin currently lives in Knoxville Tennessee with Ben, and 3 smaller mammals they take care of (one is a dog). She lived in New Orleans from 2009-2019, and will always miss it, its people, and its marching bands.

Renowned for his vivid, larger‐than‐life portraits, Alex Katz is a towering figure in contemporary painting. His work can be found in institutions such as the Metropolitan Museum of Art, the Art Institute of Chicago, MoMA, LACMA, and the National Portrait Gallery. The revised and expanded edition of Phaidon’s landmark survey is the most up‐to‐date overview of Katz’s prolific 50‐year career. Featuring more than 300 gorgeous reproductions of key works, Alex Katz devotes ample space to the artist’s lush portraits while also including his landscapes, sculptures, and painted books.

From 2014–2019, CONTACT has been a fixture in the contemporary art scene in Hawai‘i. From its arrival in 2014, to the most-recent Acts of Faith at the Hawaiian Mission Houses in 2019, CONTACT has become the most comprehensive, thematic exhibition of contemporary art made in Hawai‘i by Hawai‘i artists. The show has been thoughtfully curated by individuals in/out of our root culture, to deepen the dynamic of CONTACT and to widen our understanding of our lived experiences here.

Toby Altman’s Discipline Park documents the demolition of Prentice Women's Hospital in Chicago, a landmark of architectural brutalism designed by Bertrand Goldberg in the 1970s. Altman was born in the building, and years later, was employed by Northwestern University when they tore it down. His personal proximity to the site leads to a wider critical evaluation of the cruelty of a neoliberalism that asks us to draw sustenance from the very institutions that poison and erase our bodies, habitats, and histories. But, as it indicts the present and its claustrophobic, ruinous politics, Discipline Park also recovers or reinvents utopian vistas through an extended engagement with Goldberg's architectural practices.

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.

This first monograph on artist and filmmaker Nicole Miller focuses on a single sculpture by the artist: Michael in Black (2018). This book brings together a cohort of writers and other artists through newly commissioned texts and works for the page, as well as republished texts and images that exist as their own whole. Some texts hinge on the sculpture, others are tangents. The book’s texts and images build on each other, functioning as a prism for the publication’s subject.

Michael in Black (2018) is a bronze cast of Michael Jackson’s kneeling figure, poured from a mold made directly from his body around 1986. This talismanic object comprises myriad aspects of celebrity and image: the objecthood of the performer, the potency and perversity of objects, death, and grief.

This sculpture is an outlier in Miller's work, though it excavates some concerns she has similarly articulated in moving image: her recurring interest in the self-performance of her film subjects; the dehumanizing effects of the mass gaze; the celebrity as a host object for contemporary projections; the tactility of film, the sculptural qualities of editing; and the potential for self-storytelling to reconstitute an individual’s wholeness.

This is the first significant publication to explore the output of Matt Keegan, the New York-based artist known for his work across mediums, as well as independent publishing including the acclaimed editioned art journal North Drive Press. This monograph expands on a recent solo exhibition by the artist at Rogaland Kunstsenter; Stavanger, Norway, titled “Portable Document Format.” The show was organized as an idiosyncratic retrospective, with Keegan remaking sculptures dating from 2006 to 2015, initially fabricated in Sheetrock and steel, in cardboard. Like the exhibition, the publication serves both as a project and a reference for the artist’s work.

Essays by Tom McDonough and John Miller theorize Keegan’s production, while interviews with Sara VanDerBeek and Anna Craycroft underscore the artist’s ongoing engagement with his peer group. Furthered by contributions from colleagues Uri Aran, Leslie Hewitt and James Richards, situated alongside full-color installation photos and reproductions of work from the past decade, Matt Keegan: OR provides a solid introduction and layered overview of the artist’s multifarious practice.

This book was published on the occasion of Gagosian’s solo presentation of work by Ed Ruscha at Frieze New York 2014. On view in the booth was a new series of small bleach-on-linen paintings displaying cryptic snatches of language in pale, ghostly letters against somber gray, blue, and maroon grounds. On closer scrutiny, incidental spots and spatters appear, inadvertent results of the artist’s medium and process. In these works, all of which are reproduced in color in this book, Ruscha continues to explore the slippery relationships between image and word, original and readymade. The volume documents twenty-seven works and features a cover design by the artist.

Published on the occasion of the New Museum’s 2010 retrospective of the work of the multifaceted and hugely influential artist Brion Gysin, Alarme consists of the 1977 calligraphic poem of the same name which was conceived as an artist’s book but never received publication during Gysin’s lifetime. Presented as a square-format series of one-sided pages, Alarme defies easy categorization. Although it consists of words, gridded and repeated to suggest a series of mantras, the words have a tendency to dissolve into visual patterns and pure gestural marks. As Gladys Fabre writes in the book’s introductory essay, “Alarme is an attempt to transcend death. By expelling all signs of identity and by impelling the words unrelentingly into the ink, the artist manages to extinguish his ego, reaching the path that leads to detachment, to ecstasy.”

Introduced by Fred Hoffman, Tom Wesselmann: A Survey, 1959-1995 is an exhibition catalog of the eponymous exhibition. Thomas K. Wesselmann was an American artist associated with the Pop Art movement who worked in painting, collage and sculpture.

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

This long-awaited and essential volume collects writings and interviews by Glenn Ligon, whose canonical paintings, neons and installations have been delivering a cutting examination of race, history, sexuality and culture in America since his emergence in the late 1980s. No stranger to text, the artist has routinely utilized writings from James Baldwin, Zora Neale Hurston, Richard Pryor, Gertrude Stein and others to construct work that centers Blackness within the historically white backdrop of the art world and culture writ large. Ligon began writing in the early 2000s, engaging deeply with the work of peers such as Julie Mehretu, Chris Ofili and Lorna Simpson, as well as with artists who came before him, among them Philip Guston, David Hammons and Andy Warhol. Interweaving a singular voice and a magical knack for storytelling with an astute view of art history and broader cultural shifts, this collection cements Ligon’s status as one of the great chroniclers of our time.
Glenn Ligon was born in the Bronx in 1960. He began as an abstract painter but shifted to text-based works which often incorporate quotes from Black authors. His work can be found in the collections of the Art Institute of Chicago, the Baltimore Museum of Art and the Museum of Modern Art, New York.

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

The book consists of one chapter appropriated from Karl Marx's 1893 text Das Kapital and USDA photos, 100 pages printed with Pantone "Old Money Green".

In this artist’s book, Bergman and Salinas build links between a chapter of Das Kapital outlining the early capitalist expropriation of farmers from commonly held lands with public domain photos of the United States Department of Agriculture research office.

This book was edited by Laurel V. McLaughlin and was co-published by Artspace New Haven and INCA Press.

David Smith is regarded as one of the most innovative artists and important American sculptors of the 20th century. He transformed sculpture by rejecting the traditional methods of carving and casting in favor of torch-cutting and welding, becoming the first artist known to make welded sculpture in America. These methods allowed him to work in an improvisational manner in creating open and large-scale, abstract sculptures. In his later years, he installed his sculptures in the fields of his home in the Adirondack Mountains, where a dialogue between the art object and nature emerged as central to his practice. His sculpture-filled landscape inspired Storm King Art Center and other sculpture parks throughout the world, as well as anticipating the land and environmental art movements.

An exploration of queer sexuality, technology, mental illness and history. The story takes place in a highly stylized surreal world and follows the exploits of two young queer characters navigating feelings of alienation and gender confusion. The characters experience existential dread during anonymous Grindr hookups, work menial jobs, have ketamine fueled disassociations, discuss dysphoria in desolate parking lots, get harassed on their way to the leather bar and search for intimacy within the self-absorbed echo chamber of a social media saturated world.

”There are eight million stories in the naked city,” says the narrator in Jules Dassin’s 1948 noir classic Naked City. This sense of the bustling American metropolis as a vast reservoir of untapped stories has moved numerous photographers to surf the urban sprawl with an open-ended attention to chance encounters and unexpected visual serendipities. After watching the documentary film A Fire in the East: A Portrait of Robert Frank in the early 1990s, Los Angeles–based photographer Chrissy Piper wrote a fan letter to Frank, and traveled to New York to meet him. Frank’s work and their eventual friendship inspired Piper to continue shooting on the street. The pictures gathered in this book were taken mostly on the streets of New York City, but also in other locales across America, during various road trips with friends.

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

American artist Renée Green (born 1959) spent two years engaged with the Carpenter Center for the Visual Arts at Harvard University, during which she presented a series of interlinked public programs and exhibitions, culminated with her major exhibition Within Living Memory (2018). Green’s Carpenter project, Pacing, is a meditation spurred by inhabiting an architectural icon―Le Corbusier’s Carpenter Center―while exploring the historical and institutional legacies of modernism’s other forms, including cinema, visual art, poetry, music and literature.

This handsome publication illuminates Green’s unfolding process, with a sequence of exhibitions that took place from 2015 and culminating in Pacing: Facing in Toronto; Tracing in Como, Italy; Placing in Berlin; Spacing in Lisbon; and Begin Again, Begin Again in Los Angeles. The result is a meditation on creative processes across histories and media, partially inspired by two architectural icons: Rudolf M. Schindler and Le Corbusier. Despite grand ambitions, Le Corbusier was only able to realize two buildings in the Americas, the Carpenter Center in Cambridge, Massachusetts, and Casa Curuchet, in La Plata, Argentina. In Pacing, dreams, projections and geographically distant buildings are put into dialogue through time, weaving a layered constellation of unexpected relations.

Lavishly illustrated, Renée Green: Pacing features new texts by Gloria Sutton and Fred Moten, and brings together a series of previously unpublished conversations between the artist and Yvonne Rainer, Nora M. Alter and Mason Leaver-Yap. Additional contributions are provided by Nicholas Korody, William S. Smith and Carpenter Center director Dan Byers.

A catalog documenting an exhibition of Marcel Duchamp’s editioned readymades at Gagosian Gallery, New York, replicating his American debut at Cordier & Ekstrom in the same building in 1965 and including new essays. Marcel Duchamp’s first readymade, a standard bicycle wheel attached to a wooden stool, came about “as a pleasure, something to have in my room the way you have a fire, or a pencil sharpener, except that there was no usefulness.” Over the ensuing decades many of his readymades were lost or destroyed, but in 1964 Duchamp, working with acclaimed gallerist Arturo Schwarz, supplanted the original readymades with fourteen precisely executed editioned multiples, a process which culminated in an exhibition in New York in 1965.

This book is a chronological series of father/daughter self-portraits by photographer Geoffrey Biddle. It begins with Eve's birth and concludes twenty-two years later after the death from cancer of his wife and her mother, artist Mary Ann Unger. Biddle writes directly to Eve in brief accompanying texts that illuminate sweet, happy details of their lives and acknowledge the emotional strain of Unger’s diagnosis and long battle to stay alive. Eve and Me was conceived as a gift from father to daughter, testimony to their shared experience and singular bond. It traverses their closest years, from city playgrounds to country fields, without and within the shadow of illness and loss. “I put myself on both sides of Eve and Me. Telling our story this way gave me clarity and a measure of control that catastrophic illness and daily parenting withhold.” By the end of this companion volume to Biddle's memoir Rock In A Landslide, the circle of life issues new chapters when both Eve and her father find love and he hints at a future with “our blended family at one table....and I get to take pictures."

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

Published by Hawai‘i Contemporary on the occasion of the Hawai‘i Triennial 2022 (HT22), Pacific Century: E Hoʻomau no Moananuiākea examines key art historical backgrounds and contemporary discussions on art, expanding the frame of reference for the Asia-Pacific region. Essays by HT22 co-curators lay out the critical approaches that shaped the framework of the Triennial around the fluid concept of a Pacific Century, while a selection of previously published seminal texts by artists and scholars reflect upon the field of art history in the region. Also included is a newly commissioned conversation with Homi K. Bhabha, illuminating his theoretical criticism that continues to carve out a new discursive space where the marginalized find their agency. Participating Triennial artists—from Hawai‘i, Asia-Pacific, and beyond—are highlighted in a dedicated section with an original introductory text, work information, and images. Pacific Century—E Hoʻomau no Moananuiākea will be an essential resource for critical exploration of contemporary art in Asia-Pacific at large.

“'What Was An Author?' Right from the opening words of these Tempest Essays, we see the great Molly Nesbit at work undoing and radically repositioning the time codes for the artist. She creates a living archive of critical debates, politics and philosophies. She paints a vivid picture of the many junctions between people, objects, quasi-objects and non-objects throughout the twentieth century and into the twenty-first. This is a true protest against forgetting as well as a toolbox for contemporary art criticism. Call it a guidebook to the labyrinth of reality.” —Hans Ulrich Obrist

Midnight: The Tempest Essays returns the question of pragmatism to the everyday critical practice of the art historian. Illustrated case studies on Eugène Atget, Marcel Duchamp, Jean-Luc Godard, Cindy Sherman, Louise Lawler, Rachel Whiteread, Gabriel Orozco, Rirkrit Tiravanija, Lawrence Weiner, Nancy Spero, Rem Koolhaas, Martha Rosler, Gerhard Richter, Matthew Barney and Richard Serra, among others, build to form new book-length lines of continuity and investigation.

Molly Nesbit is Professor in the Department of Art at Vassar College and a contributing editor of Artforum. This is the second book in her Pre-Occupations series, following The Pragmatism in the History of Art (2013). Her other books include Atget's Seven Albums (1992) and Their Common Sense (2000).

Boris Lurie worked on the composition of House of Anita from the 1970s almost up to the end of his life. It is his Ecce homo. In the guise of an S/M novel, if a quite surreal, absurd, and poignant S/M novel, the work attempts to come to terms with the circumstances of his traumatic youth interned in the Nazi death camp at Buchenwald, while exploring the meaning of the life of the artist and the place of art in the post-Holocaust world, and railing against the degradation of art by the market. Though not strictly speaking an allegory, and certainly not simply autobiography cloaked in leather and chains, House of Anita does employ the philosophy and vocabulary of a highly specialized mode of experience, the world of organized sado-masochism, to depict and examine the "ordinary" post-Holocaust world. In tone and sensibility the work falls in the lineage of Alfred Jarry, Franz Kafka, and Kathy Acker.

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.”

Steven Leiber (1957–2012) was a pioneering art dealer, collector, and gallerist, focused on the dematerialized art practices of the 1960s and 1970s. As an expert in the then-nascent field of artist archives and ephemera, in 1987 he opened Steven Leiber Basement. He was an important resource for numerous scholars, curators, and other enthusiasts, with a focus on the integral role of ephemera and documentation within conceptual art and other avant-garde movements.

Across 252 pages, this book documents the full set of 52 dealer catalogs produced by Steven Leiber between 1992–2010. His reputation spread via these unique volumes that paid homage to historic publications and multiples, including Wallace Berman’s Semina journal and the exhibition catalog Documenta V (1972), and included works by John Baldessari, Lynda Benglis, Ray Johnson, Lucy Lippard, Allan Kaprow, Yayoi Kusama, Claes Oldenburg, Lawrence Weiner, and many more.

Inspired by Leiber’s often humorous borrowing for his catalog designs, the book’s format references Sol Lewitt’s Autobiography and includes an essay and contextual notes by David Senior.

Additional contributors include Ann Butler, Christophe Cherix, Marc Fischer, Adam Michaels, Tom Patchett, David Platzker, Marcia Reed, Lawrence Rinder, and Robin Wright.

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

Rochelle Goldberg’s Cannibal Actif devours the line between artist book and archive. Each page bracketing a visual thought that leaks off the page seeping through to the next, proposing a structural challenge to the visual, material, and narrative format through which it unfolds. The book's pale cover will wear the dust and dirt of its surroundings, collected over time, while extreme varnish on the pages within will capture the readers residual touch.

Thick pools of crude oil envelope bathers in Baku, spilling off their bodies onto a floodline, or further seeping out as a glossy stream of text. Oil poured over gears and out of portals does not stop at the page's edge. These spills are free of constraint—the drainage collects elsewhere onto another page, as a new image: a face, a hand, a snake. The arc of Goldberg’s story traces the cannibal’s consuming action and subsequent digestion, through corporeal flesh to mechanistic fixtures, while the material limit of ink on a page has been pushed to reflect this narrative track. Overlapping sequences of chroma centric blacks and rusty metallics bend and bleed to offer a psychedelic saliva that lubricates a hardened message, then tempered by soft gradients of reds, greens and pinks, reflecting the visceral membrane of a jellyfish, at once separating and joining two cavities—ingesting and secreting, in rhythm. Through consumption, the cannibal augments itself, but the reader must also cross the swamp, the mirror, and the pools of oil or crystalline water, to reach this enhanced state. A new life of texts and tones greets us on the other side of the mirror.

Contributions by art historian Leah Pires, publisher Frances Perkins, and the artist crack open previous helpings of thoughts served as varnished murmurs, bold words now permitted to ooze across double-page spreads, a regurgitated message we too can consumed.

In 2017, curator and art historian Anita N. Bateman and architect and professor Emanuel Admassu initiated research on the traditional positioning and mispositioning of the arts across the African continent. Where Is Africa has been an extended set of exchanges with contemporary artists, curators, designers, and academics who are actively engaged in representing the continent—both within and outside its geographic boundaries. By examining artist collectives, new currents in art history and the rise of contemporary art festivals in and about Africa from the past 10 years, the project unpacks the imperialist foundations of cultural institutions and their anthropological fascination with African objects, people, and places.

The interviews in Where Is Africa examine African and African-diasporic identities and spaces through questions of positionality in relation to specific disciplinary, cultural, and political contexts. The texts address Afro-diasporic aesthetic practices and the curatorial, museological, and artistic matrices that confront epistemologies of dominance and exclusion. The commissioned essays and images offer concise methodologies that expand or complicate issues addressed by the interviewees.

Where Is Africa is a conceptual project that accompanies a conceptual place, driven by the desire to dislodge Africa from categorical fixity and the representational logics of nation-states. Africa can never be fully enclosed by the residue of colonial violence or the totalitarian gaze of neoliberalism; instead, it creates infinite malleability, where place and concept are untethered from each other.

J&L Illustrated #2 is the second volume of J&L's collection of drawings and fiction. The work was commissioned in 2004 by asking the contributors to submit work having to do with "Adventure". The fiction was edited by Craig Taylor, and the drawings by Leanne Shapton and Jason Fulford. Contributors include Helon Habila, Miriam Toews, Kevin Sampsell, Adam Sternbergh, Paul Maliszewski, Sarah Shawn, Corey Keegan, Hannah Griffiths, Jeff Johnson, Nathan Whitlock, David Shrigley, Ryan Blomberg, Marcel Dzama, Forest Juziuk, Jason Logan, Justin Peroff, Amy O'Neill, Matthew Sandager, Serge Onnen, Jill Smith, Richard McGuire, Brian Rea, Harrison Haynes, Michelangelo Iaffaldano, James Gallagher, Olia Mishchenko, Leif Parsons, Gary Peter, Will Van Roden, Nick Dewar, Paul Marlow, Ryan Storm, Jemal Hamilton, Alex Romero, Zach Storm, Shawn Creeden, Brendan Nakahara, Al Peterson, Brian Rea, Booh Stoodio, Nicholas Blechman, Joe Mattson, Paul Clark, Tucker Nichols, and Michael Harwell.

Don Van Vliet, published by Fred Hoffman Gallery in association with Michael Werner Gallery, was created for a 1990 exhibition in Santa Monica showcasing recent works by the iconic artist and musician Don Van Vliet, also known as Captain Beefheart. Limited to 1,000 copies, the catalogue includes 26 full-color illustrations of Van Vliet's work, featuring reproductions of ten paintings and sixteen drawings. It offers a photographic portrait by renowned photographer Anton Corbijn and includes Van Vliet's poem "Skeleton Makes Good." This rare catalog captures the essence of Van Vliet’s unique vision.

This catalog accompanies A.R. Penck's 1989 exhibition at Fred Hoffman Gallery, featuring a series of large-scale acrylic paintings created during the artist’s stay in Venice, California. Known for his bold, symbolic style, Penck painted these works locally for this particular show. The 34-page catalogue includes 15 color and 6 black-and-white illustrations, offering a glimpse into his evolving practice at the time. It also includes a brief biography of the German artist, reflecting on his journey and influences. A.R. Penck was a painter, printmaker, sculptor, and jazz drummer. A neo-expressionist, he became known for his visual style, reminiscent of the influence of primitive art.

This book was published on the occasion of the exhibition Painting Paintings (David Reed) 1975 at Gagosian, New York, curated by Katy Siegel and Christopher Wool. It features early brushmark paintings by David Reed, first shown in 1975 at Susan Caldwell Gallery, New York, complemented by a presentation of work by artists who were similarly exploring the relationship between process and image-making in painting, sculpture, photography, and film, such as Barry Le Va, Joyce Pensato, and Sigmar Polke.

Along with installation images and plates from the 1975 exhibition, related paintings, performances, and film images appear throughout the book in the form of a visual essay. New texts by Richard Hell and Reed appear alongside reprints from the time, including the original exhibition text by Paul Auster. A conversation between Katy Siegel and artist Christopher Wool unfolds the significance and legacy of Reed’s early work.

Fui Sin Haber Nacido is a documentation of the artist’s relationship with Latin America and a commemoration of her ancestors who found sanctuary in New Orleans, and for those who seek it today.

Specifically using archival material from her family, as well research done about the Banana Trade and migration patterns– this book is a testament of the impact of Latin Americans in New Orleans until present day post-Katrina, and traces the community of migrants who reconstructed the city. Today, Louisiana is rapidly becoming the epicenter for migrant detention, with prisons being built in rural areas and collecting asylum- seekers for profit and political gain.

Gabrielle works in archives and moving image. Frequenting Nicaragua, and Mexico, her work explores the construction of narratives through outdated processes that connect Latin America with the Deep South. She is interested in ways in which collective memory and images are used to communicate in political landscapes. Specifically questioning methods of U.S. intervention in Latin American bodies and spaces, she looks to build to interrogate our relationships with the places we come from and inhabit.

The hyper-competition of neoliberalism is a construction that is sold as a fact of nature, purely a matter of biology, genetics, basic psychology, and particle physics, etc. The priests, cardinals, and popes of advanced neoliberal capitalism credit all human advancements to competition.

Fields such as art, science, and education are antithetical to the goals of neoliberal quantification, gamification, and resulting private appropriation of everything. However, even these fields are forced to comply and compete, to great detriment of the independent goals of these fields, through coerced competition for resources via constant demands for performance metrics. For most of us it is impossible to step outside the legislated competitions of neoliberalism and so individuals must be well adjusted within the system, enabled by realist-conformist postures.

The rhetoric of competition has been cleverly transferred to a general system of governance, and forms relations between people, and between people and their professions. In this way, competition serves both as a discourse of legitimation, and as legal framework of extreme control. It takes armies of technocrats working tirelessly, endlessly, in order to enforce the myth of competition and thus hardly “natural” in the way it is marketed.

In 2014, Hurth encountered four boxes of cyanotype prints by Thomas W. Smillie, the first custodian and curator of the Smithsonian Institution’s collection of photography (active 1868 to 1917). In her new work Stutters, Hurth builds on several years’ research to rework the original cyanotypes into visual montage, sequencing images that provide a record of Museum life as it documents a ‘national’ collection in the making. The work presents photographs of empty display cabinets and staged objects within the Smithsonian’s holdings, following divergent threads of photographic history, exhibitionship and collection-making, as well as developments in various technological apparatuses across the late 19th and early 20th century.

Through a meticulous process of xerox and printing reproduction, Hurth enlarges the world of each image and traces a photographic lineage, a process itself indebted to the cyanotype. Two overlapping sets of captions from the artist offer a subjective and scientific view of the photographs, inviting a cross-referencing of the “official”, if incomplete, bibliographic record with one that moves more freely across a historical timeline as a way to reflect on gaps in the archive.

Stutters includes three new texts, with Hurth considering the book’s entwined interests, as well as her own personal history with the Smithsonian and the work of Smillie. Additional contributions by authors and curators Ruth Noack and Kari Conte consider the ways in which artists’ projects like Stutters can quietly break apart the violent taxonomy of an archive, and instead use this shifting fragmentation to envision new meaning and bring into focus voices that have been excluded from history.

This book was published on the occasion of the exhibition Richard Prince: American Prayer at the Bibliothèque nationale de France, Paris, in which the artist juxtaposed his artworks with rare books from the library’s collection. Known for his appropriations of American pop-cultural and countercultural iconography, Prince also collects first editions of notable volumes published between 1949 and 1984, including William Burroughs’s Naked Lunch and versions of Vladimir Nabokov’s Lolita in multiple languages. American Prayer explores the connections between these books as valued artifacts and inspirational texts, and the art that results from their influence.

In addition to opening a window onto Prince’s intellectual passions, American Prayer reveals the source material for many of his well-known series through the pairing of literary excerpts and critical commentary with color reproductions of his artworks. Essays by art historian and collector Bob Rubin, Bibliothèque nationale de France contemporary and rare book curator Marie Minssieux-Chamonard, and rare book dealer and gallerist John McWhinnie offer further insights into Prince’s creative approach to books and their histories.

To mark the 10 year anniversary of the Deep Water Horizon oil spill, Antenna announces the release of Collapse, a book about the many species that inhabit the Gulf of Mexico. The photographs in this book are a small overview of the 26,000 specimens included the Collapse (2010/12) exhibition, a sculptural installation of over 26,000 species collected along the Gulf of Mexico in response to Deepwater Horizon oil spill, the largest environmental disaster in the history of the United States.This installation was created by Brandon Ballengée in scientific collaboration with Todd Gardner, Jack Rudloe, and Peter Warny.

Brandon Ballengée writes: “The Gulf of Mexico is one of the most important and biologically diverse environments in the world. It is a nursery for thousands of marine species, and numerous endemic organisms inhabit these warm waters. Gulf seafood is an important source of food for millions of people in North America, and, as marine species migrate following the Gulf Stream, people throughout Europe rely on these fish for protein. As such, the DWH spill could not have occurred at a worse place, from an ecological and economic standpoint.

The tremendous amount of oil itself (estimated at over 200 million gallons) created an immediate kill zone greater than 200 kilometers wide, wiping out enormous numbers of marine life. Perhaps worse was the use of 2 million gallons of chemical dispersants such as Corexit 9500, which made the effluents as much as 52% more toxic than the oil itself and much more wide-spread. According to the Material Safety Data Sheets (MSDSs) for Corexit 9500, produced by the chemical manufacturer Nalco, no prior toxicity studies had been conducted before its use in the Gulf. However, several previous toxicology studies had found such dispersants teratological to marine wildlife and carcinogenic to humans.”

Regardless, these dispersants where applied in deep sea as well as surface water and, because of normal currents, spread contaminants widely in the Gulf, eventually coating thousands of kilometers of the Gulf floor with toxic sludge while, on shore, impacting over 1000 miles of fragile estuary ecosystems and beaches. A recent United States Congressional Report estimates that, after clean up efforts, almost half the oil (over 100 million gallons) remains in the Gulf. After a decade we are still trying to access the full impact of the spill.

Published by Thousand Secretaries Press, Fleetwood Press, 1982, this historical catalogue documents the first exhibition of conceptual art in Poland planned by Ryszard Wasko and held in a factory in Lodz. It includes a statement from the local Solidarity Party chairman on the role of art in everyday life.

Charles Arnoldi: A Mid-Career Survey 1970-1996 is an exhibition catalog published by Fred Hoffman Fine Art at Santa Monica, CA. It showcases the sculptural works and paintings of Charles Arnoldi. This volume features 24 color plates, additional illustrations, and two gatefolds, all finely printed on heavy matte paper. It includes essays by renowned architect Frank O. Gehry and art historian Sam Hunter, along with a preface by Fred Hoffman. The catalogue also contains a biography, a list of plates, and an exhibition checklist.

Charles Arnoldi is an American abstract painter, sculptor, and printmaker. A versatile, ever evolving artist, known for working with non-traditional materials, Arnoldi has produced a hugely varied body of work. From traditional oil paintings on canvas, to bronze sculpture, monoprints, lithographs, “chainsaw paintings” (wood panels cut into with power saws), aluminum paintings and polyethylene wall reliefs, his vocabulary of artistic expression is constantly expanding.

Published on the occasion of two concurrent exhibitions at Gagosian Gallery’s London locations in 2014 and 2015, this new catalogue features recent work by seminal artist Richard Serra, including four monumental sculptures and a single, yet massive, work on paper. The pioneer of large-scale, site-specific sculptures, Richard Serra has created works of art for architectural, urban, and landscape settings around the globe, and presented in this beautiful new book are the most recent additions to that oeuvre. Documenting the artist’s 2014–15 London shows with Gagosian Gallery, this volume highlights Serra’s awe-inspiring sculptures, as well as the five-meter-long work on paper, Double Rift #2 (2011), with striking full-page black-and-white installation shots.Art historian Neil Cox contributes a new and insightful essay on Serra’s work. Paying particular attention to the works in relation to space, Cox delivers detailed analyses on each of the exhibited pieces, providing further context for any reader.

Gagosian Gallery presents a group of four tapestries entitled Abdu, Iblan, Musa, and Yusuf (all 2009) by Gerhard Richter in 2013. This is the exhibition catalog of it.

These works are based on Abstract Painting (724-4) (1990), a key example of Richter’s distinctive approach to non-representational painting. The visual effect of the tapestries is a Rorschach-like multiplying of the forms and colors of the original canvas.

Woven on a mechanical jacquard loom, each tapestry repeats four times the image of one quadrant of the painting. Somewhat surprisingly, the painterly, stochastic qualities of the original translate onto the loom’s digital iterations. Though derived from the same painting, each of the four tapestries surprises and dazzles with its own complex symmetries. In Abdu, a cobalt blue supernova erupts into a sea of overlapping reds, mixed whites, and yellows; while Iblan is a layered vision of lilacs and midnight blues that emanates from a bright white center. Within a delicate red top-layer, some marks appear to have been finger-painted; given such refined illusions of gesture it is easy to forget that the works do not employ paint at all.

This publication departs from three video works by the artist Hu Wei, exploring the possibilities of devising new scripts within the manifold connections between materials for creative works, images, and texts. The first part of the publication transcribes and recompiles the narrations in his videos into three sets of juxtaposed scripts. Each of these textual fragments showcases an “anatomical section of an era” from disparate geopolitical contexts: a family letter from Sabah, a set of Rashomonian testimony, and an anecdote about the anonymous. The second part is a notebook-like atlas that unfolds following the clues of three keywords: “Fabrication,” “Anonymity,” and “Boundary.” Within this section, different types of images and texts, including factual materials, embodied research and survey records, as well as fabricated documents, interlace with each other. They serve as an interrogation, extension, reconstruction, and reassemblage of three muted histories or events.

Photography and family have been in dialogue for Geoffrey Biddle most of his life. He uniquely mediates and meditates on circles of relation, love and care through the camera’s eye. In this long-awaited memoir, Biddle narrates his photographs with a frank and moving account of surviving his wife's illness and death as a single father. Rock In A Landslide begins with the romance between Biddle and noted sculptor Mary Ann Unger, two artists who first met as picture researchers at Magnum Photos in mid 1970s New York City. He recounts their charged partnership, their parallel creative practice, and the East Village factory space they reclaimed as both home and shared studio. Their “Great Collaboration” was daughter Eve whose joyous birth was soon tempered by Unger’s breast cancer diagnosis and thirteen-year journey of treatment and recurrence. Biddle now edits and frames his images with the clarifying distance of time — making sense of the immediacy and tidal emotions enshrined in the photographs, revelatory of what so many families experience with both fear and determination.

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

This is an exhibition catalog of the exhibition Heroic Stance: the Sculpture of John McCracken, 1965-1986 held at P.S. 1, Long Island, NY, October 24-December 21, 1986, and at Newport Harbor Art Museum, Newport Beach, California, March 13-May 10, 1987. John Harvey McCracken was an American minimalist visual artist. He lived and worked in Los Angeles, Santa Fe, New Mexico, and New York.

Conversations brings together a broad range of dialogues between author Jan Tumlir and artist Jorge Pardo, which span a period of 20 years, beginning in 1999. They encompass contemporary art, design, publishing, and music, and connect the varied contexts of Los Angeles and Mérida, Mexico, where they took place. The result is a story of a unique intellectual friendship that has defined both of their thinking and practice.

Describing his work as “shaping space” Jorge Pardo has made work that moves freely across the notional disciplines of art, architecture, and design throughout his over thirty-year career. His constructions range from a single light sculpture, to paintings, rooms or an assembly of buildings that combine all the individual elements of his artistic creation in the mode of the Gesamtkunstwerk or “total work of art.” His work contends with distinctions of private and public space, while calling to mind references as diverse as the Light and Space movement, Land art, modernist design and the color, flora and fauna of his home in Mérida, Mexico.

Jan Tumlir is an art writer and teacher, who lives and works in Los Angeles. He is a contributing editor for the art journal X-TRA, and his writing has appeared in Artforum, Aperture, Flash Art, Art Review, and Frieze. Tumlir is a member of the humanities and sciences faculty at Art Center College of Design.

Taking Freud's idea of the Uncanny as a starting point, artist Mike Kelley plays Sunday curator and presents work by Jasper Johns, Paul McCarthy, Jeff Koons, Tony Oursler, and others (reprinted from a 1993 catalogue), plus photos of chewing gum wrappers, postcards, record covers, and toys, all connected to ideas of youth and the Uncanny.

Mike Kelley, one of the most controversial, prolific and influential figures in contemporary art, was born in 1954 in Detroit, Michigan, and earned a Bachelors degree from the University of Michigan and a Masters from California Institute of the Arts. His work, often wickedly humorous and drawing on both high art and the vernacular with distinctively American iconography, ranges across media such as drawing, painting, sculpture, music, performance, writing and video projects, the last often in collaboration with artists such as Paul McCarthy, Raymond Pettibon and Tony Oursler. In 1993, The Whitney Museum of American Art held a major retrospective of his work. He lives in Los Angeles, and is a member of the graduate faculty at Art Center College of Design, Pasadena.

This book was published on the occasion of the exhibition Jeff Wall at Gagosian, West 21st Street, New York. From his pioneering use in the 1970s of backlit color transparencies to his intricately constructed scenes of enigmatic incidents from daily life, literature, and film, Wall has expanded the definition of the photograph, both as object and illusion. The catalogue features the nine works in the exhibition, made between 2007 and 2018—several of which have never previously been exhibited or published—and includes an essay by Russell Ferguson. The two cover options illustrate alternate panels from a diptych, Pair of interiors (2018).

Rochelle Goldberg conceived the publication alongside the development of works exhibited at Éclair, Berlin, and The Chinati Foundation, Marfa, following her residency, in addition to The Power Station show. The book includes photo documentation by the artist as well as texts, including the script for a performance featuring fellow artists and collaborators Marie Karlberg, Veit Laurent Kurz and Krista Peters. This collage of materials gathered over the course of years and spread across different locations is highlighted with two texts by writer and curator, Kari Rittenbach.

With designer Geoff Kaplan, Goldberg has created a pendant to her first monograph, Cannibal Actif, further exploring this particular form with the use of rich earth colors and metallic inks.

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

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

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

New York–based artist Wen-You Cai (born 1989) is the founder of Special Special and the author of When You Make No Art, a memoir about growing up with her father, artist Cai Guo-Qiang. Since 2015, Wen-You Cai has returned multiple times to her parents' hometown of Quanzhou, Fujian, to attend the funerals of relatives. The ceremonies in the Minnan region unfold like grand dramas in which she is both an observer and a participant. Throughout the ceremony, Wen-You is enveloped in the unknown; everything seems meticulously arranged. Amid the overwhelming grief of losing loved ones, there exists a feeling of confusion, and taking photographs was a way for her to engage in the funeral process. For this photo series, Wen-You was initially confronted by her own fear of death, intertwined with her bewilderment and curiosity about the complex funeral rituals and their uniqueness inherent to Minnan culture. To demystify these subjects, Wen-You interviewed a funeral director who provides comprehensive “one-stop services,” a monk who hosts Buddhist ceremonies and a folklorist of Minnan rituals.

Minnan Exit is at once a family album, a curated collection of photographs, an unfinished journey of discovery and a chronicle of Wen-You's reconciliation with her mortality.

Kelley made a career of reading the “lower” regions of American culture—comic strips, suburbia, punk music, consumerism—through the psychoanalytic concepts of repression, regression, and transference. The resulting drawings, sculptures, and installations are often evocative, disturbing, and deeply funny.

The project Plato’s Cave, Rothko’s Chapel, Lincoln’s Profile comprises performances, music, installations, and drawings; its title refers to the well-known allegory of the cave in Plato’s Republic, putting it in association with the Texas chapel designed by the Abstract Expressionist painter Mark Rothko, and President Abraham Lincoln’s familiar facial profile, which is featured on the US penny. Kelley crossed Plato’s parable of appearance and reality with questions of lightness and darkness, interiority and exteriority, representation and simulation, the ideal and the contingent.

Exploring, part of this larger project, shows the inside of a cave, dense with suggestively shaped stalagmites and stalactites; to explore this space, we are told, we must first stoop and then crawl like a worm. In its conflation of interior exploration and regression, the drawing ponders the opposition between the desire to know and the impulse to refuse knowledge, which Kelley acknowledged as the crux of his art: “I saw that certain themes came back again and again in my work. There’s sort of an ur-group of information that I was suppressing . . . standardized kinds of repressed things in the culture—embarrassing things, like sexual dysfunction and the scatological.”

George Segal examines the life and professional career of one of America's leading sculptors.

Sam Hunter (January 5, 1923 – July 27, 2014) was an American historian of modern art. He was an author, an Emeritus professor of art history at Princeton University, director of the Jewish Museum, founding director of the Rose Art Museum at Brandeis University, acting director of the Minneapolis Institute of Art and a visiting professor at the Clark Art Institute at Williams College, Harvard University and various other institutions of higher learning.

In 2017, American multidisciplinary artist Mark Bradford (born 1961) initiated a partnership with Rio Terà dei Pensieri, an Italian nonprofit working with two Venetian prisons. Through this collaboration, Process Collettivo was formed: an ongoing project that aims to increase employment opportunities within prisons and the city of Venice as a whole, while raising awareness about the political and environmental conditions that disproportionately affect marginalized populations. This eponymous volume provides extensive documentation of the project, including photos, testimonials by incarcerated people, and additional information about carceral systems and the people impacted by them.

Edited and with an introductory text by scholar Nicole Fleetwood, the book includes essays that contextualize Bradford’s project through analyses of Italian and American prisons, a reflection of creativity as an outlet for the incarcerated and a discussion of the history of social practice art. Process Collettivo also features a conversation between Bradford and former Rio Terà president Liri Longo, in which they reflect on the obstacles and successes of their joint venture.

Point Reflection follows Aki Sasamoto’s idiosyncratic practice, which draws on performance, dance, installation, video, and linguistic play to test the limits of our knowledge and experience of natural and human phenomena. Her improvisatory and experimental approach unravels her artistic research with curiosity, play, and pathos, revealing chains of associations that hold the most personal and mundane variables in tension with the most persistent and expansive metaphysical and scientific mysteries. Titled after the geometric condition wherein every point is reflected across a specific fixed point, Point Reflection asks how we identify and engage with moments of change, transformation, and rupture. In her writing on aging, vulnerability, the passage of time, and living a (non)normative life, Sasamoto turns to the metaphor of snail shell chirality–the direction in which the snail shell coils–to imagine the inverted horizon beyond the point reflection where all things are otherwise, but also still themselves, and ask, “When do you decide to go the other way?”

The first major volume devoted to the artist's work, Point Reflection combines the diagrammatic drawings, narrative experimentation, structured improvisations, and stream of consciousness monologues characteristic of Sasamoto’s performances and installations, with a critical essay by Lumi Tan, interviews conducted by the artist with biologists Erynn Johnson and Masaki Hoso, and an afterword by Queens Museum curator, Hitomi Iwasaki.

Point Reflection centers on Sasamoto’s installation Sink or Float, first presented at the Venice Biennale in 2022, and previously on view as part of the solo exhibition, Aki Sasamoto: Point Reflection, at the Queens Museum, which presented a selection of recent works and a new performance by the artist.