In the late eighties, Swiss artist Pipilotti Rist skyrocketed to international fame with her intriguingly cryptic and provocative videos. Since then, she has received numerous awards for her works—suggestive mixtures of visual and musical elements, overlapping images, acceleration and deceleration, and frequently psychedelic colorful effects—such as the Premio 2000 at the Venice Biennale.

Presenting Rist’s entire oeuvre from 1986 to the present, this monograph publishes many works for the first time. Intriguing essays shed light on central aspects of her work, which the artist herself describes in an extensive interview.

Lauren Noelle Oliver (b. 1992, Queens) is a New York City-based artist exploring form and the human body. She attended the High School of Fashion Industries in Manhattan and holds a BFA from SUNY Purchase College. Oliver incorporates photography, film making, and performance into her artworks. Often utilizing analog equipment and processes, Oliver uses film for her photographic and moving image explorations.

Oliver has spent her professional career working at some of the largest contemporary art galleries and cultural institutions in New York, and also as a teaching assistant for International Center of Photography's community programming. She volunteers weekly at the Gowanus Darkroom, where she executes her creative work.

Rowhouse Project is a book edited by Lucie Fontaine. It includes work by Justin Lieberman, Josh Tonsfeldt, Trevor Shimizu, Zak Kitnick, Cynthia Daignault, Ajay Kurian, Van Hanos, Sam Anderson.

Heather Guertin: Development is the exhibition catalog of the eponymous exhibition at Brennan & Griffin, September 7 — October 12, 2014.

The word development can be used in different contexts while maintaining the same meaning. For this exhibition, developing countries, housing developments, and character development are addressed through painting and writing. The word, aside from the specific themes addressed here, can also refer to the expectation of artistic development on display in a solo exhibition.

The exhibition begins with a short film, the generation of a text from Guertin's satirical novel in-progress,"Not Yet Titled, Cambodia." This excerpted text tells the story of a couple's decision to buy land and build a house in Cambodia in an attempt to escape the rising prices and homogenization of New York. Through their changed environment and the development of architectural and interior space, the couple aims to fully realize themselves in the world. Their dream of self-actualization becomes a nightmare when one of the characters encounters a ghostly duplicate of herself.

The invention of characters through storytelling is mirrored by the figures who reside in the abstracted space of Guertin's painting. She employs a minimalist logic to structure her work. The self-referential rendering of space and gestural employment of paint calls attention to the surface, while primary forms, ovals and staffs, respond directly to the dimensions and architecture of the support. The forms painted are figurative and serve to reinforce the physical structure of the spaces they inhabit, while being defined by it as people. Combining these investigations into material and figuration, Guertin's paintings similarly explore self-realization through development of space, or as an artist who engages with painting.

This catalogue has been published on the occasion of the exhibtion of paintings and drawings by Fairfield Porter at the Betty Cuningham Galelry, New York, March 8 - April 15, 2006.

This exhibition is presented in co-operation with The Parrish Art Museum, Southampton, New York and with Hirschl & Adler Modern, New York, the representative of the Estate.

Best known as a founding member of the New York School of painting, Richard Pousette-Dart (1916–1992) initially pursued a career as a sculptor. During his career, Pousette-Dart created a lexicon of biomorphic and totemic forms that provided rich visual and symbolic sources that he would explore throughout his long career in a multitude of painterly approaches. In conjunction with Richard Pousette-Dart: 1930s, the first in-depth museum consideration of the artist’s 1930s drawings, this publication features approximately 100 illustrations, as well as new scholarship that looks at these works as the presage to many of the compositional strategies Pousette-Dart employed in his later paintings from the 1940s.

Writings 1973–1983 on Works 1969–1979 is an essential document of a decade of formative work by Michael Asher. Originally published in 1983, the book presents 34 works through the artist’s writings, photographic documentation, architectural floor plans, exhibition announcements, and other ephemera.

Asher did not create traditional art objects; instead, he chose to alter the existing institutional apparatus through which art is presented, creating work dependent on the architectural, social, or economic systems that undergird how art is produced and experienced. For example, in 1974, he removed the partition wall dividing the office and gallery space of the Claire Copley Gallery in Los Angeles. In another work from 1978, Asher had a bronze replica of a nineteenth-century sculpture of George Washington moved from the exterior of the Art Institute of Chicago to a room in the museum that housed eighteenth-century art, changing its location, but also its function from a public monument to an indoor sculpture, as it was originally intended.

Due to its site specificity and immateriality, Asher’s work ceased to exist after an exhibition, which makes this highly sought-after book the definitive mode through which one can gain insight into the work he made during this period. As the artist states in the introduction: “This book as a finished product will have a material permanence that contradicts the actual impermanence of the art-work, yet paradoxically functions as a testimony to that impermanence of my production.”

Initiated by Kasper König, Writings 1973-1983 on Works 1969-1979 was originally co-published by the Press of the Nova Scotia College of Art and Design and the Museum of Contemporary Art, Los Angeles, and was largely shaped by Asher’s close collaboration with art historian Benjamin H.D. Buchloh, who succeeded König as editor of the press.

Since she burst spectacularly into view with her debut novel almost two decades ago, Zadie Smith has established herself not just as one of the world's preeminent fiction writers, but also a brilliant and singular essayist. She contributes regularly to The New Yorker and the New York Review of Books on a range of subjects, and each piece of hers is a literary event in its own right.

Arranged into five sections--In the World, In the Audience, In the Gallery, On the Bookshelf, and Feel Free--this new collection poses questions we immediately recognize. What is The Social Network--and Facebook itself--really about? "It's a cruel portrait of us: 500 million sentient people entrapped in the recent careless thoughts of a Harvard sophomore." Why do we love libraries? "Well-run libraries are filled with people because what a good library offers cannot be easily found elsewhere: an indoor public space in which you do not have to buy anything in order to stay." What will we tell our granddaughters about our collective failure to address global warming? "So I might say to her, look: the thing you have to appreciate is that we'd just been through a century of relativism and deconstruction, in which we were informed that most of our fondest-held principles were either uncertain or simple wishful thinking, and in many areas of our lives we had already been asked to accept that nothing is essential and everything changes--and this had taken the fight out of us somewhat."

Gathering in one place for the first time previously unpublished work, as well as already classic essays, such as, "Joy," and, "Find Your Beach," Feel Free offers a survey of important recent events in culture and politics, as well as Smith's own life. Equally at home in the world of good books and bad politics, Brooklyn-born rappers and the work of Swiss novelists, she is by turns wry, heartfelt, indignant, and incisive--and never any less than perfect company. This is literary journalism at its zenith.

Accompanying the exhibition Ellsworth Kelly, Tablet: 1949-1973, this publication features a selection of six never before published drawings by the major contemporary artist Ellsworth Kelly. It also includes a transcription of the conversation held between Benjamin Buchloch and Yve-Alain Bois at the Drawing Center.

Daniel Borzutzky’s new collection of poetry, The Performance of Becoming Human, draws hemispheric connections between the US and Latin America, specifically touching upon issues relating to border and immigration policies, economic disparity, political violence, and the disturbing rhetoric of capitalism and bureaucracies. To become human is to navigate these borders, including those of institutions, the realities of over- and under-development, and the economies of privatization, in which humans endure state-sanctioned and systemic abuses. Borzutzky, whose writing Eileen Myles has described as “violent, perverse, and tender” in its portrayal of “American and global horror,” adds another chapter to a growing and important compilation of work that asks what it means to be both a unitedstatesian and a globalized subject whose body is “shared between the earth, the state, and the bank.”

Where Cecily Brown’s canvases revel in the visceral immediacy of paint, her drawings offer fragmentary motifs that build upon and undo each other. In conjunction with Cecily Brown: Rehearsal, the first exhibition dedicated to her drawings, this publication features color illustrations of every work in the exhibition, including more than eighty small drawings, large-scale works, and sketchbooks. Arranged by theme, the volume guides readers through Brown’s repeated and rehearsed motifs.

Hull’s interest in artistic collaborations animated by chance dates back to his first large project, conducted in 1997, called “Blind Date.” For that enterprise he asked 31 artists to produce a work of art. Those were then anonymously distributed to 31 writers, each of whom was asked to write a response. The collaborators met for the first time at the opening resulting in volatile and humorous situations.

Through the use of deceptively simple motifs- lines, knots, and geometrical shapes- New York-based artist Zoe Keramea produces “drawings” that unfold conceptually from a flat plane or sometimes emerge three-dimensionally in paper constructions. Accompanying the exhibition Zoe Keramea: Geometry of Paradox, this publication features an essay by Kathryn A. Tuma and a 16-page artist’s book containing several interactive paper constructions, visual puzzles, and games created by Keramea.

This catalogue was published alongside the exhibition Fifteen Paintings, held at Blum & Poe, Los Angeles, May 1 - June 20, 2015. Fifteen Paintings marked the artist’s seventh solo presentation at Blum & Poe and followed recent exhibitions of Grotjahn’s Circus paintings at Kunstverein Freiburg, Germany and his Turkish Forest series at Palazzo Grassi, Venice, Italy.

Furthering his exploration into the possibilities of non-representational painting, Grotjahn digs deeper into motifs developed nearly a decade ago in his earliest Face paintings. From 2013-2015 Grotjahn made a suite of fifteen oil paintings on cardboard mounted on canvas, each scaled at approximately 50 x 40 inches and informally referred to as “Indians” and “Non-Indians,” distinguishable by their respective color palettes and unique compositions. Grotjahn employs a palette knife to drag, scrape, and feather densely woven layers of oil paint. Aggressively worked from the center of the painting, the impasto offers a glimpse into the many layers of color comprising the composition. Reds, yellows, blues, purples, and greens explode forward from darkened backgrounds. In some areas, the texture of raw cardboard is still visible. Extending beyond the vertical edges, thick accumulations have been left exposed. As one carefully observes and appreciates the complexity of the process, the generosities of the works as a whole are revealed.

This is a book by artists Joshua Abelow and Gene Beery, published by Bodega.

The first major catalogue published in English on the work of Korean group Dansaekhwa, who variously experimented with pushing paint, soaking canvases, dragging pencils, ripping paper, and other material manipulations. The exhibition was held at Blum & Poe, Los Angeles, September 12-November 8, 2014 and included artists Chung Sang-hwa, Ha Chonghyun, Kwon Young-woo, Lee Ufan, Park Seobo, and Yun Hyong-keun. The catalogue features an essay by Joan Kee, translations of key articles about the group, and beautiful new illustrations.

Visionary architect and artist Yona Friedman is one of the most important and influential figures working in the fields of sustainable and self-initiated architecture. Accompanying the exhibition Yona Friedman: About Cities, the artist’s first solo exhibition in the United States, this publication features an original series of narrative drawings.

The first monographic catalogue of Los Angeles-based artist Julian Hoeber, published on the occasion of his 2013 exhibition at Blum & Poe. Beautiful color illustrations extensively document this multifaceted artist, whose practice includes painting, sculpture, video, and installations. It includes an essay by Douglas Fogle covering Hoeber's current work in the exhibition, as well as earlier aspects of his career, and a new literary text by Jonathan Lethem written especially for this book.

Exhibition Catalogue from the Rackstraw Downes show at Betty Cuningham Gallery January 27 - March 12, 2022, features nine earlier works— sprawling landscapes, architectural exteriors, and cavernous interiors in New York City, Maine, and West Texas— and twenty-two recently completed drawings of Downes’ home studio. As the pandemic tore through the New York cityscape outside his SoHo loft, Rackstraw Downes began to draw the landscapes of his home, the artist’s loft he has lived in since the early ‘90’s. Maintaining his decades-long dedication to observational drawing, Downes continued to pay attention to the things he has throughout his career— the ordinary, often-overlooked, sometimes banal aspects of his environment. He depicts his apartment as he observes it, leaving his surroundings unstaged before he begins to draw and unmanipulated afterwards. Downes’ portrayals of his everyday objects— chairs, easels, a sofa— give an intimate glimpse into the reality of his daily life and ask what is means to truly see a place that is so familiar.

Rajasthani Miniatures featured over seventy miniatures dating from the late-fifteenth to the late-nineteenth centuries. Nearly all of the works presented were created for Rajputs, members of the India’s princely caste (kshatriya), and produced in the northwestern Indian province of Rajasthan.

This catalogue was published alongside an exhibition of paintings and works on paper by Karel Appel, organized by Blum & Poe, New York in collaboration with the Karel Appel Foundation in Amsterdam. The exhibition, September 6 - November 8, 2014, was the first significant overview of Appel in New York City in more than forty years. The catalogue features an essay by Alison M. Gingeras.

Accompanying Dance/ Mirror, an ambitious drawing installation by New York artist Stephen Posen, this publication features four fold-out inserts with color illustrations of works from the exhibition, as well as an essay by Dore Ashton on the spatial, metaphorical, and poetic resonances in Posen’s work.

Through a working method she calls “approprio-arranging,” Berlin-based artist Kirstine Roepstorff collages together photocopies, fabrics, glitter, paper, and images appropriated from magazines and newspapers, constructing a poetic, post-feminist practice that addresses issues such as consumerism, the failure of the social democratic project, and contemporary gender politics. Accompanying the exhibition Kirstin Roepstorff: It’s Not the Eye of the Needle That Changed–The Time, the artist’s first solo museum exhibition in North America, this publication features a scholarly essay by Daniel Kunitz on political identity in Roepstorff’s work alongside a selection of the 12 works in the exhibition.

For critics and philosophers including the late Susan Sontag and Roland Barthes, photography itself was a “kind of death,” or as Sontag put it in ‘On Photography,’ a “memento mori that enables participation in another’s mortality, vulnerability, mutability.” Sure, Sontag and Barthes’ waxed wisdom is decades old, but we continue to see it transcending time and shifting attitudes towards the medium. Building on two previous online shows, the book looks at contemporary photographic perspectives on the end of life, not only as it passes, but conceptually and in the metaphors entangled in the practice—how time and life arrest within a frame.

Accompanying the exhibition William Anastasi: Raw, this publication features seven black-and-white illustrations of works juxtaposed with quotations from and chosen by the artist about site and medium specificity, materiality, and the dematerialization of the art object.

Published to accompany the exhibition Eleanore Mikus: From Shell to Skin, Drawing Papers 65 includes an essay by Luis Camnitizer alongside a selection of the artist’s early work, featuring several of Mikus’ “Tablets” from the early 1960s, as well as slightly later folded paper works.

This is the catalogue of the solo exhibition held at Blum & Poe, New York (January 8 – February 21, 2015).

This was the artist's first solo presentation in New York and his second solo exhibition with the gallery. The exhibition featured several site-specific installations, such as Fieldology (1974/2015), and two new works conceived specially for the 5th floor gallery and the 4th floor terrace. One room was dedicated to a survey of his wall-mounted assemblages, dating from the early 1970s to 2015.

Mark Grotjahn's ongoing Butterfly series—one of several investigations into the natural world in Grotjahn's oeuvre—focuses on perspectival techniques used since the Renaissance, such as dual and multiple vanishing points, to create the illusion of depth on a two-dimensional surface. Though at first the Butterfly paintings may appear entirely formal and graphic (alluding to modernist painting from Russian Constructivism to Op art), the raylike "butterfly wings" are often layered over under-paintings, giving them texture and tonal depth. This volume, published to accompany the first exhibition of Grotjahn's butterfly paintings at Blum & Poe in New York, not only collects these arresting compositions, but also delves into the artistic contexts involved, in an essay by Douglas Fogle that discusses the history of the Butterfly works since their conception in the early 2000s.

This publication accompanies parallel exhibitions at The Drawing Center, New York, and Drawing Room, London, that explore the relationship between linguistic communication and drawing in recent art. Throughout the twentieth century, and in particular since the 1960s, artists have mined language for the subject and matter of their art, incorporating the mode, format and meaning of text into their work. Together the two exhibitions present an international selection of artists spanning the 1960s to today, including, at The Drawing Center, Carl Andre, Pavel Büchler, Guy de Cointet, Mirtha Dermisache, Sean Landers, Allen Ruppersberg, Nina Papaconstantinou, Deb Sokolow and Molly Springfield; and at Drawing Room, Pavel Büchler, Johanna Calle, Annabel Daou, Matias Faldbakken, Karl Holmqvist, Bernardo Ortiz and Shahzia Sikander.

This definitive volume on the renowned postwar avant-garde artistic movement offers a comprehensive insight into Cobra’s history and achievements, and explores its lasting influences on contemporary art.

The European artists’ collective known as Cobra was born amid the devastation left by World War II, its name an acronym for the native cities of its founders: Copenhagen, Brussels, and Amsterdam. This group of painters, sculptors, and poets had a tremendous influence on the development of postwar European art and contemporary art in general. Cobra was arguably the longest running avant-garde movement of the twentieth century. Moving chronologically, this book explores the years leading up to Cobra’s formation, charts its complex expansion over a decade, and illuminates how the movement helped shape the trajectory of art today. Numerous images of artworks, many presented as full-page color illustrations, accompany essays by a new generation of scholars, who probe the group’s ideological hallmarks: its rejection of rational constraints, its focus on play and youthful exuberance, and its embrace of spontaneity, particularly in the form of “action” paintings. In addition, comprehensive biographies illuminate crucial aspects of each artist’s journey, helping to expand readers’ understanding of Europe’s sociopolitical and intellectual climate.

Edited by curator Alison M. Gingeras, with new critical essays by Gingeras, Karen Kurczynski, Kerry Greaves, and Marie Godet, this book pays tribute to the movement’s enduring aesthetic and conceptual influence on artists working today, casting its view beyond the formal ending of Cobra in 1951.Alison M. Gingeras

Cookie Jar, a pamphlet series of the Andy Warhol Foundation Arts Writers Grant, gathers five new pieces of writing by grantees that take on home as the unruly site of inheritance, memory, and imagination. In “Ejecta,” Ari Larissa Heinrich reflects on artist Jes Fan’s melanin sculptures and the geology of metaphoric language. Tan Lin’s “The Fern Rose Bibliography” is a meditation on the loss of his parents through an olfactory exploration of his family’s books. M. Neelika Jayawardane’s “‘This is not the correct history’” questions the evidentiary nature of documentary photography foregrounding the slippery ethics of reading images of the decades- long civil war in Sri Lanka. In “He Brought a Swastika to the Summer of Love,” William E. Jones closely reads the fascist iconography in the films of Kenneth Anger for their prescient, unnerving connections to our contemporary political moment. In “Racial Chain of Being,” Shaka McGlotten updates the chart of representations that was Donna Haraway’s provocation in “A Cyborg Manifesto,” in the process forging connections between familial legacy, Black radicalism, and the classroom.

In her masterwork Home is a Foreign Place (1999)—from which we borrow the title for this volume and cover image for this volume—artist Zarina wrote, “The titles of my work always come to me before the image. Language ties my work together. Urdu is home.” Titled Home, this is the first of thirty-six woodblock prints that recall the artist’s childhood residence in Aligarh, India. Even a partial list of Zarina’s titles— Threshold, Courtyard, Shadows, Fragrance, Despair—reveal how the viewer is invited into the sensorium of Zarina’s elusive idea of home. The essays in this first volume of Cookie Jar, varied in scope and approach, illuminate the interior landscapes associated with home. Collectively, they demonstrate the fearlessness—and the tenderness—with which writing may yet encounter art.

Imagining Sight Lines is a body of photographs, collages, and writing that teases out the poetics of a queer body politic. The different methods of picture making disrupt a set of relational codes that are naturalized by heterosexuality, and thus create a queer logic. This sort of world making attends to coherence, disjunctures, care and labor.

Giancarlo Montes Santangelo is an artist born in New York. He received his BFA in Visual Arts from SUNY Purchase College and was recently exhibited at the 2019 Whitney Bienniel. In 2018, he joined the Peace Corps and began teaching English and Photography in South Africa. His work weaves writing and photographs in order to tease out the poetics queerness.

Alex Christopher Williams explores the relationship between historical, contemporary and personal experiences around issues of race, passing, and masculinity in America. He focuses on male archetypes using folklore, legends, and icons as references to draw similarities between the past and present. As a white passing mixed race man, Williams' photographic practice centers on the liminal space between race/ethnicity and identity using a more documentary style while also attempting to actively subvert common tropes and traditions of the practice.

In Remember the South, artist Frank Frances creates a contemporary re-imagining of colonialism through a fictional adaptation of elements used today that represent a potent past. Frances explores the frustrations of the nuanced variability of racism as well as their historical and current implications with a combination of photography and paper-cut collages. Elements of racism and stereotypes of the American South, including the use of blackface and other depictions of blackness, confederate symbolism, and crops including watermelon and cotton, are explored in meticulous assemblages, a kind of disturbing beauty that bears witness to inherited traumas that have yet to be fully realized. A visual narrative that is a nod to the systematic integration of a brutal history, Remember the South serves as an ode to the memory of a past that is still being experienced in the present.

Visually reminiscent of Picasso, Grotjahn’s Face paintings intermingle abstract and figurative renderings while dismantling and building on the conventions of modern and contemporary painting. Using sheets of cardboard that are primed and mounted on linen as the ground, Grotjahn employs brush and palette knife to extensively build layer upon layer of oil paint to almost sculptural ends. Working in varying scales, combinations of texture, lines, color and abstracted geometric shapes develop into representational eyes and noses that are broken down, multiplied, and rearranged, fracturing any fixed perspective. Other paintings possess networks of expressive lines formed strictly with a palette knife and rest on the verge of non-objective abstraction. Both the gestural and literal carvings cut up the painting and further adds to the tension between illusionistic space and the reality of the paintings’ physical surface. The seemingly idiosyncratic Face paintings are like their counterparts, his abstract and systematic perspectival-based Butterfly paintings, simultaneously mimetic and expressive, but arrive at this balance in reverse order. These ritualistically repetitive and intensely textured paintings point to Grotjahn’s implicit observations of and evolution in the practice of painting. Catalogue of the exhibition held at Blum & Poe, Los Angeles, February 27 - April 3, 2010.

​In Colonial Echo, two series are brought together as chapters with texts that are excerpted interviews written in the format of a screenplay. The first chapter is work from the body of photographs Casa de Mujeres. La Negra, is the group of photographs that appear in the second chapter and represents my grandmother whose nickname was La Negra. The images describe La Negra, as she transitions to the United States with her younger daughter. The conflict is in attempting to assimilate to a new culture, where the history of color and the distinction in class, transforms their identity.

Confronted with the prospect of being a father to a daughter in America, Nat Ward traveled to Northern New Mexico to see his own shadows and secrets with clarity. Big Throat is a product of what he discovered about the landscape, about America, and about himself as he crossed the Rio Grande Gorge bridge and photographed deep into the canyon.

The high desert has a way of raising the stakes. It’s a place where one cannot escape the palpable proximity of mortality. With a disorienting photographic perspective of the American landscape, both physical and psychological, Big Throat is resonant for anyone who feels lost in the place they call home and profoundly moving for those who know that their secrets make them whole. Big Throat is the story of a man changed by the humbling scale of darkness the desert. It is a deadpan account of the things men can’t say and a ledger of the very things they should.

Ferran Adria has revolutionized the world of gastronomy over the last 20 years. So original and poetically sensible is Adria's approach to cooking that he is considered to be the greatest "artist of the kitchen" today. He has appeared on the cover of The New York Times Magazine as the leader of A New Nouvelle Cuisine and Time magazine included him in the 100 most influential personalities on the planet. Adria's restaurant, elBulli, was awarded 3 Michelin stars and recognized 4 times as the world's best restaurant by "The Restaurant Magazine".

Food for Thought explores the essence of elBulli's creativity with hundreds of color photographs of Adria's creations, including, for the first time ever, every single dish ever created by elBulli. Inspired by Adria's controversial participation in Documenta 12, this seductive volume features lively dialogue between the most potent critics and creators of the art and gastronomic worlds, including Heston Blumenthal, Bill Burford, Jerry Saltz, Massmiliano Gioni, Anya Gallaccio, Peter Kubelka, Antoni Miralda, Carsten Holler, Bice Curiger, Adrian Searle, Davide Paolini.

Born in Waukegan, IL, Greg Drasler received a BFA and MFA from the University of Illinois at Champaign/Urbana. He has exhibited regularly in the US since the mid 80's. Widely collected privately, Drasler’s work can be seen in the collections of Dow Jones, Inc., New York; Krannert Art Museum, Champaign, IL; University of Illinois, Champaign/Urbana, IL; New Museum of Contemporary Art, New York; The Fisher Landau Center for Art, Long Island City, New York.

Accompanying the exhibition Gego: Between Transparency and the Invisible, this publication brings together important artworks produced from the mid-1950s to the late 1980s for the first time, foregrounding the critical role that drawing and printmaking played in Gego’s oeuvre. The volume also features accompanying graphic diagrams, an introduction, and brief texts originally published in Spanish in a now out-of-print catalog for Gego’s 1977 exhibition at The Museo de Arte Contemporáneo, Caracas.

Humans are turning Earth into a frantic overpopulated planet. Cid was looking for a subject that would allow him to create an imaginary interpretation of reality produced under the influence of a globalized society that is overwhelmed with physical information. Macro electronic music gatherings are unique documents of our socio-economic and socio- political times. Because of the new social media influences and the post-internet era, these events have come to be one of the most popular ways for young generations to gather all over the world. In 2015, 44 million people will attend 19,000 electronic music events all over the world. These venues show a world with no boundaries. They represent a physical example of a completely globalized planet.

From Romania to Australia, Cid traveled to twelve different countries and three continents to photograph in these events where he photograph for days and nights. Once in the studio Cid unifies hundreds of his photographs to create holistic, composite images. The photographs play with opposite ideas of representation. What at first resembles a dense abstract image, upon closer range, it transforms into an extremely detailed pictorial description of each individual. Looking at the final photographs, what the viewer sees does not in fact exist. It never did. The photographs materialize a constructed fiction created from hundreds of different points in spaces and moments in times. Surpassing conventional ideas of documentation, each photograph is a map of a fictional world, provoking tension between what we are capable of perceiving with our eyes and what we think we know.

This cloth covered 415 page catalog contains images from every exhibition Las Cienegas Project had during its 3 year run. Also included is an introduction by Susan Morgan and an insightful essay by Charles Gaines.

The Dansaekhwa movement emerged in the late 1960s, in the midst of extreme postwar material deprivations and an authoritarian political system. Although the term literally means “monochrome painting,” it is defined by the methods employed as much as its reductionist aesthetics. Ha Chong-hyun continues to experiment with technique and push the boundaries of expression in the Conjunction series. In recent years he has developed a new process in which he holds a flame to the surface of his paintings, creating a range of subtle effects as the chemical makeup of the paint is altered. In some works, the surface of white paint turns to a smoky gray, which Ha scrapes away in horizontal or vertical strips to reveal the untouched white pigment beneath.

With a new text by scholar Kavior Moon, this catalogue was published in connection with a solo exhibition at Blum & Poe, Los Angeles, November 12—December 17, 2016.

Santiago “Chago” Armada established himself as the cartoonist of the Cuban Revolution and went on to inspire the next generation of Cuban artists. Chago became a symbol of revolutionary purity, and was respected for his criticism “from within the Revolution.”

Accompanying the exhibition From Sierra Maestra to La Habana, this publication comprises a selection of drawings from different periods of Chago’s oeuvre alongside an introduction and an essay by Sandra Ceballos on her visit to Chago’s house.

Atlas is a book of photography by Jenna Westra. Westra’s photographs are both evocative and subtle, staged and candid—a pair of legs climb a ladder, a lemon is squeezed into a woman’s mouth. Westra’s photos are often closely cropped, transforming bodies into composites of angles, curves, and lines. In both black and white and in color, the photos featured in Atlas are exercises in composition, light, and visual honesty.

Marshall Scheuttle’s Morningstar shows us a Las Vegas in which the sky and the city, both blinkered with stars, stare back at each other impassively. The space between flashes moments which loom on the edge of an impending storm, or stillness in the wake of violent transgression. Caught in the crossfire, the people in Scheuttle’s photographs are alike in one undeniable regard: each, in his and her own way, is shot through with light. For some, that’s Las Vegas’s inescapable and smothering neon. For some, that’s the ominous and ageless light of the desert. And for some it’s the light that comes with the promise of a brand new day—the crisp sunlight that appears in the east once the morningstar has faded from the sky.

On the occasion of its 25th Anniversary, The Drawing Center invited all of the 750 artists whose work had been featured in Selections or Drawing Room exhibitions since 1977 to participate in a special 25th Anniversary Benefit Selections Exhibition. The exhibition featured nearly 400 drawings by the invited artists.

The accompanying publication features fourteen illustrations as well as a transcription of the symposia “Drawing (as) Center” I and II, held at The Drawing Center. Symposia speakers included John Rajchman, Jaleh Mansoor, Yun-Fei Ji, Terry Winters, Julie Mehretu, Mark Wigley, Gary Garrels, Renée Green, Julie Ault, William Kentridge, and George Negroponte.

Mia Westerlund Roosen emerged as a sculptor in the late 1960’s, when Minimalism was the dominant artistic movement. She chose the organic over the industrial and geometric, engaging with the language of the human body both physically and emotionally.

Hannah Altman is a Jewish-American artist from New Jersey. She holds an MFA from Virginia Commonwealth University. Through photographic based media, her work interprets relationships between gestures, the body, lineage, and interior space.

She has recently exhibited with the Virginia Museum of Contemporary Art, Blue Sky Gallery, the Pittsburgh Cultural Trust, and Junior High Gallery. Her work has been published in the Carnegie Museum of Art Storyboard, Vanity Fair, Huffington Post, and British Journal of Photography, among others. She is the 2019 recipient of the Bertha Anolic Israel Travel Award. She has delivered lectures on her work and research across the country, including Yale University and the Society for Photographic Education National Conference.

This is a book by artist Dena Yago, designed by Jason Matthew Lee and published by Bodega.

This catalogue is a 50-year survey of the work of Kishio Suga, noted member of Mono-ha (School of Things), a group that radically redefined Japanese art during the 1960s and 1970s. It reproduces 70 artworks, some of which have not been displayed in more than 40 years, and features an essay by Ashley Rawlings. The catalogue was published alongside the exhibition held at Blum & Poe, November 3 - December 22, 2012.

Photographs of Sculptures is a collaboration between American artists Erik Lindman and David Schoerner. Lindman, a painter and sculptor, provides a sculptural body of work for Schoerner, a photographer, to capture, using his signature grid layout. Composed of wood, plastic, metal, paint, and epoxy resin, Lindman’s sculptures are photographed by Schoerner from various angles, which allows for the sculptor’s desire for his work to be seen from multiple perspectives to be realized.

In an included essay by American art historian and critic Alex Bacon, aspects of Lindman’s, and Schoerner’s, work are addressed, with reference to materiality, form, and artistic precedent.

Balka is one of Poland’s most prominent artists today, with an artistic vocabulary that resounds with the arid melancholy of the post-Cold War landscape. Working with steel, cement, salt, foam rubber and felt, Balka focuses our attention on the elemental origins of his materials while also emphasizing the human labor required to transform those elements into cultural objects. His sculptures and sculptural installations reflect the precariousness of humanity within the rubble and dirt of earthly existence. Designed in collaboration with the artist, this catalogue documents his 1992 exhibition at The Renaissance Society and the List Visual Arts Center at MIT, his North American museum debut. Peter Schjeldahl’s eloquent essay recounts his experience of meeting the artist in Poland, capturing the harshness and poetry of Balka’s living environment, while Julian Heynen’s essay outlines the material significance and subtlety of his sculptures.

The exhibition catalog, Joan Snyder: Women Make Lists catalogs approximately 20 paintings completed by Snyder since 2002. Snyder, whose exhibiting career in New York spans over 35 years, is known for her deeply felt paintings.

Non-Declarative Art explores ambiguity and the rejection of overt meaning in the work of thirteen emerging artists selected from the Viewing Program. The exhibition presents drawing-based work that ranges from pointed to trivial in subject matter, from perfection in craft to studied clumsiness. The accompanying publication features 14 illustrations of the works from the exhibition, an introduction by exhibition curator Luis Camnitzer, as well as artist statements by Susan Goethel Campbell, Gianna Commito, Michael Diaz, Jeff Feld, Sabine Finkenauer, Prajakti Jayavant, Steven Lowery, Howard Rosenthal, Jay Sheldon, Jered Sprecher, John Tallman, Sally Tittmann, and Gregor Wright.

Keinholz: Televisions is an illustrated catalog published alongside an exhibition of assemblage sculptures and tableaux by Ed and Nancy Kienholz at L.A. Louver in 2016.

Throughout the course of Ed and Nancy Kienholz’s careers and collaborations, the television found its way into many of their works, and became a recurring theme. Together they made over 30 unique assemblage works, installations, and series of multiples related to the television set. The exhibition will feature 13 of these works, produced between the late 1960s and Ed’s passing in 1994, as well as a singular piece created by Nancy in 2006.

The earliest works in the exhibition focus on the television as a solitary object, such as Solid State (1965) and Cement TV (1969). Both are small portable TVs cast in concrete, their cumbersome forms rendered void of any functionality. Later works like All’s Quiet (1986) and Chicken Little (1992) feature miniature tableaux encased within opaque plastic water jugs and lit from within, creating a luminescent glow that enlivens the scenes portrayed.