Search results for ""David Zwirner""

This highly anticipated catalogue, accompanying Gerhard Richter’s first exhibition with David Zwirner, presents Richter’s last paintings along with his recent explorations in drawing, printing, and sculpture. ---------- “[His last paintings] can feel almost like exquisite texts to be read. . . . Their freshness and spontaneity feels like a new beginning.” — Roberta Smith, The New York Times ----------- Known for his abstract and realist paintings, Gerhard Richter has pursued a diverse and influential practice characterized by a decades-long commitment to the medium and its formal and conceptual possibilities. This remarkable book celebrates the breadth of Richter’s newest bodies of work and archives a historical moment in the artist’s career. Full-color plates and installation views showcase a selection of the artist’s final works on canvas—made just before he announced his retirement from oil painting in 2017—alongside an expansive suite of new drawings made with ink, graphite, and colored pencil on paper, a remarkable series of chromatic inkjet prints titled mood, and a stunning glass sculpture that debuted at the exhibition in New York. A newly commissioned essay by Dieter Schwarz, one of the foremost experts on Richter’s oeuvre, illustrates the artist’s path toward his newest bodies of work, revealing the creative process behind his iconic practice.

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Celebrated British painter Rose Wylie—whose works are at once tactile, cerebral, and humorous—often draws her influence from a wide range of popular culture. Here her newest body of work references memories from her own life and mimics the way memories evolve and change over time. Wylie’s source material is culled from the vast visual world around her, ranging from sixteenth-century British estates to Serena Williams and the French Open. While initially these may seem random or aesthetically simplistic, through the nuanced use of humor, language, and compositional structure, Wylie creates wittily observed and subtly sophisticated meditations on the nature of memory, and visual representation itself, in line with the paintings she has become known for over the course of her career. A new essay by art critic Michael Glover explores the remarkable painter whose work has “spark, assurance, brash humor, an extraordinary, freewheeling eclecticism that seems to be just as ready to suck in references to the art of Ptolemaic Egypt and Roman portraiture as to pay homage to the films of Quentin Tarantino and the late paintings of Philip Guston.” Part of David Zwirner Books’s Spotlight Series, this book features Wylie’s newest paintings and drawings and is published on the occasion of the artist’s 2020 solo exhibition of these works at David Zwirner Hong Kong.

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The first in-depth study of a monumental wall hanging—rediscovered after many years—by renowned Bauhaus artist Anni Albers.Albers was influential in elevating textiles from craft to fine art. Her exquisite wall hanging Camino Real—seen for the first time outside of Mexico City at David Zwirner, New York, in 2019, and the subject of this book—is a superb example of this modern master’s work.In 1967, noted architects Ricardo Legorreta and Luis Barragán commissioned Albers to create a work for the newly built Hotel Camino Real in Mexico City. Completed in 1968, her striking wall hanging Camino Real is heavily influenced by Latin American art and culture. Showcasing Albers’s approach to working with textiles as a “many-sided practice,” it is accompanied in this book by works Albers made following her move to the United States in 1933, including innovative wall hangings, weavings, and a range of works on paper. Together, these works reflect Albers’s brilliant embrace of different materials and techniques and her ability to work at varied scales. The works in this publication offer additional context and motifs, demonstrating the artist’s pioneering investment in textiles as an art form and her parallel interest in mass-produced designs.Published on the occasion of the Anni Albers exhibition presented at David Zwirner, New York, in 2019, this catalogue features new scholarship from the show’s curator, Brenda Danilowitz, art historian and chief curator of The Josef and Anni Albers Foundation, and T’ai Smith, an expert on Bauhaus craft and weaving.

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The most comprehensive overview of artist Josh Smith’s radicaltechnicolor paintings.Josh Smith: Emo Jungle looks at the artist’s vigorous repetition of particular motifs, illuminating his approach to painting as an exploratory medium for image production. Published on the occasion of Smith’s critically acclaimed first exhibition at David Zwirner, this catalogue features a new body of work that marks an important evolution for the artist. In these paintings, Smith sets the stage for a new mode of self-reflective commentary on image making, acknowledging that “the meaning perhaps arises in the making.”A new essay by Bob Nickas treats the Reaper, Turtle, and Devil figures from Emo Jungle as ciphers through which to understand Smith’s work. Nickas demonstrates how these new paintings restage and personalize the artist’s more abstract earlier works and illuminates the ways in which repetition functions within Smith’s practice. With more than one hundred illustrations, this book serves as the ideal introduction to Smith’s disruptive oeuvre.

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Donald Judd Interviews presents more than sixty interviews with the artist over the course of four decades, and is the first compilation of its kind. It is the companion volume to the critically acclaimed and bestselling Donald Judd Writings.This collection of interviews engages a diverse range of topics, from philosophy and politics to Judd’s insightful critiques of his own work and the work of others such as Mark di Suvero, Edward Hopper, Yayoi Kusama, Barnett Newman, and Jackson Pollock. The opening discussion of the volume between Judd, Dan Flavin, and Frank Stella provides the foundation for many of the succeeding conversations, focusing on the nature and material conditions of the new art developing in the 1960s. The publication also gathers a substantial body of unpublished material across a range of mediums including extensive interviews with art historians Lucy R. Lippard and Barbara Rose.Judd’s contributions in interviews, panels, and extemporaneous conversations are marked by his forthright manner and rigorous thinking, whether in dialogue with art critics, art historians, or his contemporaries. In one of the last interviews, he was asked, “What kind of advice do you have for young artists and architects based on all the things you thought all these years?” Judd responded, “To remember that art and architecture are both real activities with their own integrity and that they are not basically commercial activities and you have to partly live with that. Certainly, it’s not hard to maintain the difference ... I think both activities, to repeat myself, have an integrity. They are each a particular activity, and if you don’t like that activity, don’t do it. Go do something else. If you really want to make a lot of money, go sell cars or something.”Donald Judd Interviews is co-published by Judd Foundation and David Zwirner Books. The interviews expand upon the artist’s thinking present in Donald Judd Writings (Judd Foundation/David Zwirner Books, 2016).

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A sweeping selection of Donald Judd’s iconic and ambitious works alongside a diverse collection of newly commissioned writings. "One of the most significant American artists of the postwar period, Donald Judd rigorously experimented with color, form, material, and space. The works in this catalogue range from the artist’s expansive installations to self-contained single units, yielding valuable new insights into his process and approach. The survey includes one of the artist’s largest and most intricate installations of sixty-three wall-mounted plywood boxes, conceived in 1986. Other works include variations on some of Judd’s most recognizable forms, executed in materials such as Cor-ten steel, plexiglass, copper, plywood, brushed aluminum, and enameled aluminum. Brilliant and exacting reproductions bring these works to life on the page. Following the artist’s major retrospective at The Museum of Modern Art, New York, in 2020, this book serves as a companion volume. With contributions from a wide range of voices—art historians, critics, writers, and performers— this publication includes rich new writings on Judd’s oeuvre, art criticism, and enduring influence. Artworks: 1970–1994 is published on the occasion of the eponymous 2020 exhibition at David Zwirner, New York."

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The newest book from the widely revered Japanese artist Yayoi Kusama features her latest monumental and vibrant work and is the first to explore the experience of seeing it from the lens of the visitor“My entire life has been painted here. Every day, any day. I will never cease dedicating my whole life to my love for the universe.” —Yayoi Kusama One of the most influential artists of the twentieth and twenty-first centuries, Yayoi Kusama occupies a unique position within recent art history. Since the 1950s, she has created a profoundly personal oeuvre that resonates with a global audience. Distinctly recognizable, her works frequently deploy repetitive elements—such as dots—to evoke both microscopic and macroscopic universes. Celebrating the visitor experience, this publication offers an immersive tour of Kusama’s 2023 exhibition at David Zwirner New York. Illustrating thirty-five paintings, a gigantic sculptural maze o

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In her most personal book to date, Yayoi Kusama brings us into her private world through poetic recollections, giving insight into her creative process and the essential role language plays in her work and daily life.With a new focus on Kusama’s use of language, this book gives an impressive overview of her poetry, which the artist creates alongside her work in other media. Highlighting the importance of language to Kusama, the book draws special attention to the captivating poetic titles of her paintings, such as in I WOULD LIKE TO SHOW YOU THE INFINITE SPLENDOR OF STARDUST IN THE UNIVERSE and FIGURE OF THE MIDNIGHT DARKNESS OF THE UNIVERSE THAT I DEDICATED ALL MY HEART. These visionary titles are a quintessential part of Kusama’s eye-catching artworks, but also hold their own as unique aphorisms and appealing statements of cosmic spirituality. The poetry collected here touches on Kusama’s personal triumphs and trials, her human ideals, and her heroic pursuit of art and peace above all else.Centered around EVERY DAY I PRAY FOR LOVE, Kusama’s acclaimed exhibition at David Zwirner, New York, in 2019, this book features more than 300 pages of new paintings, sculptures, and Infinity Mirrored Rooms. It also includes photographs of Kusama over time, offering a unique visual timeline of this iconic artist.

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An exciting, unexpected, and beautiful encounter with one collector’s deeply personal assemblage of works. Since the 1980s, Mickey Cartin has assembled a remarkable collection of objects and art—Renaissance and modernist paintings, master prints, sculptures, illuminated manuscripts, and more. Exploring the theory behind collecting art and how Cartin’s approach to collecting diverges from common practices, this publication offers a unique perspective on an intimate practice. Unconcerned with hewing to specific categories, time periods, or media, Cartin’s collection—which includes the likes of Josef Albers, Sol Lewitt, and Forrest Bess—creates active combinations and disrupts homogeneity, privileging the drive of curiosity. A documentation of the celebrated exhibition Seen in the Mirror: Things from the Cartin Collection at David Zwirner, New York, in 202, this catalogue includes additional artworks from Cartin’s trove along with views of his home, conveying how he lives with these various types of work. Cartin selected each work in the exhibition and catalogue as a reflection of his deep connections with the many artists represented therein. The conversation between Cartin and David Leiber illuminates the tensions between study and instinct, reading versus experiencing, as well as the influences and figures that inform his personal, curatorial practice. With an introduction by the curator of the Cartin Collection, Steven Holmes, and a text from the art historian Luke Syson, this inspiring volume is a spirited investigation of a very different method of and approach to collecting.

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Rudolf Zwirner, “the man who invented the art market,” as coined in Der Spiegel, reflects on more than sixty years in the art business in his authoritative autobiography. An art dealer of the ages, Rudolf Zwirner, father of the esteemed gallerist David Zwirner, reached many milestones in his career. From co-founding Art Cologne, the first fair for contemporary art, in 1967, to showing works by Georg Baselitz, Gerhard Richter, and Andy Warhol, Zwirner transformed the contemporary art scene in Cologne. Born in 1933, he presented more than three hundred exhibitions from the early 1960s to 1991. In his autobiography, Zwirner reveals stories of artists, his gallery, and his most important collector, Peter Ludwig, whose collection forms the cornerstone of the Ludwig Museum in Cologne. First published in 2019 in German, and translated and adapted here for the first time in English, the book explores the most significant moments of Zwirner’s career and the fast-changing postwar art world of. Also included in this edition is a new introduction by Lucas Zwirner, Rudolf’s grandson, who reflects on his grandfather’s role in bringing us to the global art landscape we find ourselves in now.

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I carry my landscapes around with me focuses on American abstract artist Joan Mitchell’s large-scale multipanel works from the 1960s through the 1990s. Mitchell’s exploration of the possibilities afforded by combining two to five large canvases allowed her to simultaneously create continuity and rupture, while opening up a panoramic expanse referencing landscapes or the memory of landscapes. Mitchell established a singular approach to abstraction over the course of her career. Her inventive reinterpretation of the traditional figure-ground relationship and synesthetic use of color set her apart from her peers, resulting in intuitively constructed and emotionally charged compositions that alternately evoke individuals, observations, places, and points in time. Art critic John Yau lauded her paintings as “one of the towering achievements of the postwar period.” Published on the occasion of the eponymous exhibition at David Zwirner New York in 2019, this book offers a unique opportunity to explore the range of scale and formal experimentation of this innovative area of Mitchell’s extensive body of work. It not only features reproductions of each painting in this selection as a whole, but also numerous details that allow an intimate understanding of the surface texture and brushwork. In the complementing essays, Suzanne Hudson examines boundaries, borders, and edges in Mitchell’s multipanel paintings, beginning with her first work of this kind, The Bridge (1956), considering them as both physical and conceptual objects; Robert Slifkin discusses the dynamics of repetition and energy in the artist’s paintings, in relation to works by Monet and Willem de Kooning, among others.

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Explore Frank Walter’s relationship to Antigua through a range of works and writings that express his intimate connection to Caribbean nature, landscape, and place. “Nothing seems to be reworked—it is as if each piece drew or painted itself without being adjusted, revised, or fussed over.” — Hyperallergic Influenced by his studies of agriculture and the sugar industry in the former British colony of Antigua as well as his extensive travels in England, Scotland, and West Germany, Walter created work inspired by his thoughts, knowledge, journeys, and surroundings—work that encompassed painting, drawing, writing, sculpture, photography, and sound. This focused selection focuses on paintings—tender, quiet, and lush—that transcend the traditional tourist’s view of island life in favor of perspectives that explore how and why we look at where we are.Published on the occasion of the 2022 exhibition at David Zwirner, this catalogue includes an introduction by the show’s curator Hilton Als. Barbara Paca, the leading expert on Walter, writes a text detailing her personal experience meeting Walter and being in his presence. An essay by Charlie Porter takes readers on a walk as he muses about Walter’s life and the nature depicted in his paintings. Joshua Jelly-Schapiro travels to Antigua to explore the history of the island and Walter’s lasting impact there.

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Light Break presents the first survey since 1996 of photographer Roy DeCarava, an essential figure of American art and culture, whose “poetry of vision” re-forms urban life, labor, love, and jazz into the discovery of “an intimate, emotional arc of transformation.”Though DeCarava often refrained from public discussion of his work, this catalogue provides important background into determining factors of his aesthetic sensibility—his traditional training in painting and printmaking as well as his philosophical undertakings. It brings the viewer to a consideration of contradictory precepts in DeCarava’s work that seeks resolution through tonal and structural elements within the image.Light Break presents a wide-ranging selection of DeCarava’s photographs accompanied by a preface by Zoé Whitley, an American curator based in London, and features an introduction and essay by curator and art historian Sherry Turner DeCarava. Titled “Celebration,” Turner DeCarava’s essay considers the artist’s singular poetic vision, his timeless portrayals of individuals and places, and his mastery of composition and photographic printmaking.As Whitley writes, “In making photographs, as in life, DeCarava was patient. Possessing both a peerless self-awareness and acute observational skills, he knew intuitively when to wait and when to open the camera’s shutter. In the dark room, he availed himself of these same attributes, moving with steady assurance to develop his prints so as to allow the full range of what he called his ‘infinite scale of grey tones’—often realized at the deepest end of the spectrum—to emerge slowly and fully.”Published on the occasion of two concurrent exhibitions of DeCarava’s work at David Zwirner New York in 2019, this exquisite volume showcases a dynamic range of images that underscore DeCarava’s subtle mastery of tonal and spatial elements across a wide, fascinating array of subject.

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“Revelatory and sublime…Her work remains conceptually open enough for viewers to draw their own conclusions, insert their own meaning and feel transported to other glorious worlds.” —The New York Times One of the most inventive artists of the twentieth century, Hilma af Klint was a pioneer of abstraction. Her first forays into her imaginative non-objective painting long preceded the work of Kandinsky and Mondrian and radically mined the fields of science and religion. Deeply interested in spiritualism and philosophy, af Klint developed an iconography that explores esoteric concepts in metaphysics, as demonstrated in Tree of Knowledge. This rarely seen series of watercolors renders orbital, enigmatic forms, visual allegories of unification and separateness, darkness and light, beginning and end, life and death, and spirit and matter. Published on the occasion of the exhibition Hilma af Klint: Tree of Knowledge at David Zwirner New York in 2021 and David Zwirner London in 2022, this catalogue features a text by the art historian Susan Aberth examining af Klint’s spiritual and anthroposophical influences. With a conversation between the curator Helen Molesworth and the US Poet Laureate Joy Harjo discussing connections between Tree of Knowledge and native theories about plant knowledge, the publication broadens the scope of philosophical interpretations of af Klint's timeless work. Also included is a newly commissioned essay by the celebrated af Klint scholar Julia Voss, a contribution by the artist Suzan Frecon, and a text by art historian Max Rosenberg that further develops the conversation around why af Klint’s work was not recognized in its time.

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Spotlighting the narrative and mythical imagery of Marcel Dzama, this one-of-a-kind blank book holds a unique space for creative play and contemplation“Enjoy what you are making, people can feel it in the work…I feel that art has been a good escape from the reality we are in.” —Marcel Dzama Drawing inspiration from folklore and fairy tales and incorporating art-historical influences, Marcel Dzama’s work has secured a cult following of musicians and artists. His celestial imagery, masked characters, and aquatic scenes resonate with viewers of all ages. The vibrant and fantastical work featured on the cover and endpapers of Dzama’s first Artist Journal enchants the mind and encourages unbridled expression. Each journal is beautifully crafted in Verona, Italy. About The Artist Journals The Artist Journals go beyond canonical art to capture the modern and contemporary spirit of today’s most acclaim

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A comprehensive and inspiring collection of essays by Larry Neal, a founder of the seminal Black Arts Movement“The Black Arts Movement is radically opposed to any concept of the artist that alienates him from his community. Black Art is the aesthetic and spiritual sister of the Black Power concept. As such, it envisions an art that speaks directly to the needs and aspirations of Black America.” —Larry Neal, The Drama Review, 1968 Larry Neal, a poet, dramatist, and critic, was a founding figure of the Black Arts Movement in the 1960s and 1970s in New York. Writing as the arts editor for Liberator magazine, a radical journal published in Harlem, Neal called for Black artists to produce work that was politically oriented, rooted in the Black experience, and written for the Black community. Engaging with fiction, music, drama, and poetry in his texts, he challenged the dominance of the Western art-historical canon and charged Black artis

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Mwili, Akili Na Roho: Ten Figurative Painters from East Africa features the work of ten artists from Kenya, Uganda, and Tanzania, including Sam Ntiro, Elimo Njau, Asaph Ng’ethe Macua, Jak Katarikawe, Theresa Musoke, Sane Wadu, Peter Mulindwa, Chelenge van Rampelberg, John Njenga, and Meek Gichugu. The personal histories, thematic concerns, and formal strategies of this multigenerational group of artists present an opportunity to engage more deeply in the genealogies of artistic creation in the region, while considering the enduring influence of certain ideas and institutions in the creation, dissemination, and reception of art in and from East Africa. This catalogue is published to coincide with an expanded version of Mwili, Akili Na Roho at the Nairobi Contemporary Art Institute in 2022, following earlier iterations at Haus Der Kunst in Munich (2020) and the Royal Academy of Arts in London (2021).

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I Hope So: Sane Wadu follows the expansion and development of Wadu’s conceptual preoccupations, beginning with an early interest in bucolic scenes of pastoral life which has evolved into incisive social commentary, a complex exploration of the intersection of faith and politics, and an ongoing critique of societal contradictions. An illuminating essay by Mukami Kuria and an interview with Rosie Olang’ Odhiambo offer readers multiple entry points into Wadu’s penetrating vision. This catalogue is published on the occasion of Sane Wadu’s first retrospective exhibition at the Nairobi Contemporary Art Institute in 2022.

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Most known for her bold and darkly painted portraits, Brooks was revolutionary in her feminist renderings of women in resistance. Openly queer, she challenged conceptions of gender and sexuality in her art, which also served as her refuge. While many of her male counterparts were disfiguring and cubing their subjects—often women—Brooks gave personhood and power to the figures she painted. Her frank approach to her complicated relationship with her mother, faith, wealth, sexuality, and gender is complemented by a keen wit that echoes the gray tones of her work. Though her paintings are held in major collections, Brooks’s influence in modernist circles of the early twentieth century is largely underexplored. This new publication, guided by Brooks’s own impressionistic musings, bridges an important gap between the art and the artist. An introduction by Lauren O’Neill-Butler explores Brooks’s role as an artist in the early twentieth century through the lens of gender and sexuality.

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Originally published in 1930 in an edition of 100 copies, Gertrude Stein’s Dix Portraits pairs her singular literary style with original lithographs by Pablo Picasso and other artists in Stein’s circle to create an exceptional artist’s book exploring written and visual portraiture. Written between 1913 and 1929, revolutionary years in art history, Dix Portraits conveys the deep human engagement between an artist and her subject. The artist’s book unites Stein’s ten portraits in prose with sketches by five artists: Pablo Picasso, Christian Bérard, Eugene Berman, Pavel Tchelitchew, and Kristians Tonny. Utilizing the interplay between word and image, Stein’s writing and the artists’ images provide nuance and depth, balancing humor and sincerity. With a new introduction by Lynne Tillman, Dix Portraits is an unforgettable artistic collaboration. The subjects represented include Pablo Picasso, Guillaume Apollinaire, Erik Satie, Pavel Tchelitchew, Virgil Thomson, Christian Bérard, Bernard Faÿ, Kristians Tonny, Georges Hugnet, and Eugene Berman. Originally printed in an edition of 100 copies with the lithography, and now widely accessible for the first time, Dix Portraits captures Stein’s legacy as a champion of artists and a pioneer of creativity.

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In his engaging and penetrating observations of major modern and contemporary visual art, Shiff has written about an impressive range of artists, including Willem de Kooning, Marlene Dumas, Jasper Johns, Donald Judd, Barnett Newman, Pablo Picasso, Bridget Riley, and Peter Saul. A leading scholar and powerful voice, Shiff’s insight into prominent artistic practices spans generation, place, and approach, as seen in this considered selection of essays on twenty-seven artists. These writings first appeared in exhibition catalogues for institutions including the Centre Georges Pompidou, the Solomon R. Guggenheim Museum, The Museum of Modern Art, and Tate Modern. Shiff supplements his unquestionable fluency in art history with insights cultivated from his readings in philosophy, phenomenology, literary theory, and psychoanalysis, among other fields. Shiff’s writing—conceptually rich, meditative, and enjoyable to read—is attuned to the nuances of artistic style and technique, drawing out art’s social implications not merely from broad histories but also directly from artists’ mark making and technical gestures. Actively engaged as a viewer and a writer, Shiff has transformed the act of looking at art into contemplative and captivating writing. Writing After Art includes essays on Georg Baselitz, Mark Bradford, Georges Braque, Jim Campbell, Chuck Close, Willem de Kooning, Peter Doig, Marlene Dumas, Dan Flavin, Suzan Frecon, Lucian Freud, Ellen Gallagher, Jasper Johns, Donald Judd, Ellsworth Kelly, Brice Marden, Julie Mehretu, Barnett Newman, Pablo Picasso, Bridget Riley, Peter Saul, Richard Serra, Joel Shapiro, Richard Tuttle, Cy Twombly, Jack Whitten, and Zeng Fanzhi.

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H.D.’s poetry continues to inspire generations of readers. Bringing together a number of never-before-published essays, this new collection of writings introduces H.D.’s compelling perspectives on art, myth, and the creative process.While H.D. is best known for her elemental poetry, which draws heavily on the imagery of natural and ancient worlds, her critical writings remain a largely underexplored and unpublished part of her oeuvre. Crucial to understanding both the formative contexts surrounding her departure from Imagism following the First World War and her own remarkable creative vision, Notes on Thought and Vision, written in 1918, is one of the central works in this collection. H.D. guides her reader to the untamed shores of the Scilly Isles, where we hear of powerful, transformative experiences and of her intense relationship with the paintings of Leonardo da Vinci. The accompanying essays, many published here for the first time, help color H.D.’s astute critical engagement with the past, from the city of Athens and the poetry of ancient Greece. Like Letters to a Young Painter (2017), also published in the ekphrasis series, this collection is essential reading for anyone interested in the creative process.

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Othello is one of Shakespeare’s most contemporary and moving plays, with its emphasis on race, revenge, murder, and lost love. Chris Ofili’s new edition highlight’s the tragedy of Othello’s plight in ways no other previous edition of this play has.In twelve etchings Ofili has produced to illustrate this play, Othello is depicted with tears in his eyes, which flow below various scenes visualized in his forehead. Ofili asks us to see in Othello the great injustices that still plague the world today. These images add feeling to Shakespeare’s words, and together they form their own hybrid object—something between a book and a visual retelling of the tragedy. With a foreword by the renowned critic Fred Moten, this edition is the first of its kind and puts Othello’s blackness and interiority front and center, forcing us to confront the complex world that ultimately dooms him.The first play in the Seeing Shakespeare, Othello is illustrated by English contemporary artist Chris Ofili. Future titles in the series include A Midsummer Night’s Dream illustrated by Marcel Dzama, and The Merchant of Venice with images by Jordan Wolfson.

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The first comprehensive monograph on the work of Brazilian painter Lucas Arruda elucidates the artist’s intricate, meditative compositions.Arruda has gained critical acclaim for atmospheric paintings that fluctuate between abstraction and figuration, imagination and reality. This monograph presents three groups of works loosely characterized as seascapes, jungles, and monochromes. Collectively titled Deserto-Modelo, they have an ephemeral, transient quality.Arruda’s intimately sized paintings of seascapes and junglescapes are characterized by their subtle rendition of light. Painted from memory, they are devoid of specific reference points, instead achieving their variety through the depiction of atmospheric conditions. Verging on abstraction, the compositions are grounded by an ever-present, if sometimes faint, horizon line that offers a perception of distance. They appear at once familiar and imaginary. Through his often evocative and textured brushstrokes, Arruda foregrounds the materiality and physicality of paint, while also recalling his genres’ historical associations with the notion of the romantic sublime.Alongside meticulous color plates and powerful details, author Will Chancellor offers a close reading of the work, raising questions about artifice, thresholds, and perception. Critic Barry Schwabsky unpacks the challenges posed by Arruda’s mysterious painted surfaces. As a whole, this book provides a detailed introduction to the work of a uniquely thoughtful and inventive artist.

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A laugh-out-loud visual history of the strangest piece of men’s clothing ever created: the codpiece.The codpiece was fashioned in the Middle Ages to close a revealing gap between two separate pieces of men’s tights. By the sixteenth century, it had become an upscale must-have accessory. This light-hearted, illustrated examination of its history pulls in writers from Rabelais to Shakespeare and figures from Henry VIII to Alice Cooper. Glover’s witty and entertaining prose reveals how male vanity turned a piece of cloth into a bulging and absurd representation of masculinity itself. The codpiece, painted again and again by masters such as Titian, Holbein, Giorgione, and Bruegel, became a symbol of royalty, debauchery, virility, and religious seriousness—all in one. Never has a piece of clothing revealed so much about men only by hiding their private parts. Glover’s book moves from paintings to contemporary culture and back again as it charts the growing popularity of the codpiece and its eventual decline. The first history of its kind, this book is a must-read for art historians, anthropologists, fashion aficionados, and readers looking for a good, long laugh. Centuries of male self-importance and delusion are on display in this highly enjoyably new title.

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“The rising star’s ethereal work is filled with transcendent imagery that allows the viewer to peek beyond the veil of earthly existence.” — Naomi Rea, Artnet News In her paintings, Zvavahera gives form to emotions that manifest from other realms and dimensions beyond the domains of everyday life and thought. Her vivid imagery is rooted in the cornerstones of our earthly existence—life and death, pain and pleasure, isolation and connection, and love and loss. This is the first book to explore her work in vivid detail. Zvavahera draws from a powerful visual vocabulary comprising women, her family, and shape-shifting animals, in scenes both metaphorical and fantastical. In several paintings, she makes use of intricate patterns taken from her own floral or classical Zimbabwean designs. Her particular process of alternating painting and printing results in images that communicate complex emotions in a play of tension and release. The result is a deeply personal body of work that probes the nature of the human condition. As Zvavahera states, “It is me in the paintings.… I can only speak about myself.” In addition to gorgeous reproductions of seventy-five paintings, including up-close details and installation views, this catalogue also features a new essay by curator Meredith Brown and an interview with the artist by writer Allie Biswas. This catalogue surveys work made since 2017, including her much-lauded contribution to the 2022 Venice Biennale.

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Virgina Woolf’s collection of writings on visual arts offer a whole new perspective on the revolutionary author. Despite wide interest in Woolf's writings, her circle, and her relationship with the visual arts, there is no accessible edition or selection of essays dedicated to her writings on art. This newest edition in David Zwirner Books’s ekphrasis series collects such essays including “Walter Sickert: A Conversation” (1934), “Pictures” (1925), and “Pictures and Portraits” (1920). These formally inventive texts examine the connection between the literary writer and the visual artist and are innovative in their treatment of ideas about color and modern art as experienced in picture galleries. In these essays, Woolf looks at the complex and interdependent relationship between the artist and society. She also provides sharp and astute commentary on specific works of art and the relationship between art and writing. An introduction by Claudia Tobin situates the essays within their cultural contexts.

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Alice Neel''s unstinting, visionary engagement with the lives of those around her resulted in an inclusive oeuvre. This aspect of queer representation in her work is explored for the first time in this new catalogue.Curated by Hilton Als and organized in collaboration with the Estate of Alice Neel, At Home: Alice Neel in the Queer World highlights the artist’s vibrant involvement with the human condition. Within a lifetime of work, Neel painted many people from many walks of life--this catalogue is the first to focus on queer communities, those who were part of their circle, as well as allies and others with whom the artist was in broader conversation—together forming a collective portrait that both embodies and complicates an understanding of the queer world of Neel’s moment and the artist’s place within it. This collection of paintings includes rarely seen works depicting individuals including Frank O’Hara, Allen Ginsberg,

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A joining of two artists, exploring their shared fixation on the problematics of architecture, language, institutions, scale, and value '[The exhibition is] powerful and unhinged and overbuilta monument to the entropy of the postindustrial city, and the tenuous dance of its inhabitants.' The New York Times Gordon Matta-Clark and Pope.L are esteemed for their respective interdisciplinary practices that examine the value and paradoxes of urban life as well as the risk inherent in art making. Utilizing performance, film, drawing, and various multimedia projects, the two artists often open up interstitial spaces by realizing sweeping gestures that take into account shifting, decentralized zones. Grounded in the concept of failure, the sixth exhibition at 52 Walker and its accompanying catalogue reconsider societal, artistic, and structural failureand in its expression a consideration of hope. With an introduction by the curator and director of 52 Walker Ebony L. Haynes, this publicati

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Tau Lewis’s mythical sculptures create elaborate portals into fantastic worlds “At 52 Walker, artist Tau Lewis transmutes the lifeblood of scrap objects into something sanctified. . . . I’m reminded that an art gallery can also be a temple.” — New York magazine Following her acclaimed presentation Divine Giants Tribunal at the 2022 Venice Biennale, Lewis has continued to create anthropomorphic forms inspired by those in Yoruban mask dramas—ones which are spiritually activated by the wearer and the audience and, by extension, their community. Conversing with spiritual and ancestral pasts, Lewis’s works reinvent and reconsider narratives of Greek myths, theater, and death. In this body of work, the artist reexamines apocalyptic themes as an opportunity for reconstruction and transformation. Documenting and expanding on Lewis’s exhibition at 52 Walker titled Vox Populi, Vox Dei, this catalogue contextualizes the artist’s investigations and expressions. Poetry by the multidisciplinary artist and activist Yves B. Golden complements Lewis’s otherworldly motifs. With a curator’s note by Ebony L. Haynes, this publication also features an essay by Tiana Reid that explores Lewis’s practice, drawing connections between sources that range from Joy James to Frederick Douglass.

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A series of beautiful and unique, usable journals, these hardcover, blank books each focus on a single artist, and feature a detail of an artwork wrapped around the cover and endpapers that highlight details from the artist’s studies or other works on paper. We offer a variety of grid designs for the interior - lines, circles, traditional grids - that the artist or estate hand selects for their journal. The opening page includes a single quote about making from each artist. The Journal series celebrates the creativity of artists and their ability to inspire. Each edition includes a detail of an artwork on the cover and studies or drawings as endpapers. Produced in collaboration with the artists or artist’s estates, The Journal series is printed in limited editions.

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Designed as a companion to the hugely successful monograph Noah Davis, this volume offers further insight into the impact and legacy of the revolutionary Los Angeles artist and activist. ---------- “Embedding his dreams on canvas and in the community, visionary American artist Noah Davis created a mighty legacy.” — Rachel Willcock, ArtReview (2022) ---------- Looking to literature, film, architecture, and art history, Noah Davis imbued his ethereal paintings with emotion and imagination. Muted colors, fantastic scenes, and blurred subjects create an intoxicating vision. Attuned to the power of his medium, Davis layered his paintings—figuratively and literally—using a unique dry paint application to depict quotidian life at an enigmatic, almost magical remove. Featuring sumptuous close-ups throughout, this important new book brings into focus the rich, painterly variety and luminous detail of Davis’s canvases. With a special focus on the groundbreaking Underground Museum, which Noah Davis co-founded with his wife, Karon Davis, Noah Davis: In Detail includes a special conversation, moderated by Helen Molesworth, between Fred Moten, Glenn Ligon, Thomas Lax, and Julie Mehretu. This renowned group of artists and thinkers share personal experiences of the powerful and emotional impact of The Underground Museum and its connection to the larger artistic environs of Los Angeles. Franklin Sirmans contributes a new essay and Lindsay Charlwood, a lifelong friend of Noah’s, authors a chronology of his life, contextualizing his artistic and social achievements.

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Carol Bove: Collage Sculptures presents an extensive look into the contemporary artist’s work over the past five years and her ongoing exploration of scale, color, material, and artistic traditions of the twentieth century. Bove’s recent work engages the conceptual concerns of mid-century sculpture, such as spontaneity, industrial materials, and the potential of painted sculpture. However, within this space of familiar sculptural traditions, Bove has discovered new approaches that lead to places previously unknown. Bove’s “collage sculptures” are created from scrap metal and stainless steel that has been carefully worked into sinuous forms and are frequently painted. Considering the hard rigidity of the steel, the works possess an appearance of almost impossible softness, as if steel could become as pliable as clay. Such works range from small pedestal sculptures to large, imposing compositions. Bove’s interest in scale and how a viewer’s understanding of an artwork shifts depending on its context are explored through a selection of small works from the collection of the Nasher Sculpture Sculpture. Published by the Nasher Sculpture Center, the catalogue features beautiful reproductions of Bove’s work and an introduction as well as an essay by curator Catherine Craft on the development of the collage sculptures and their relationship to other artists and traditions of modern sculpture. Also included is an essay by Lisa Le Feuvre that explores Bove’s complex work by means of a thematic alphabet related to the artist’s interests.

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Known for her evocative portraits, Diane Arbus is a pivotal figure in American postwar photography. Undeniably striking, Arbus’s black-and-white photographs capture a unique gaze. Criticized as well as lauded for her photographs of people deemed “outsiders,” Arbus continues to attract a diversity of opinions surrounding her subjects and practice. Critics and writers have described her work as “sinister” and “appalling” as well as “revelatory,” “sincere,” and “compassionate.” In the absence of Arbus’s own voice, art criticism and cultural shifts have shaped the language attributed to her work.Organized in eleven sections that focus on major exhibitions and significant events in Arbus’s life, as well as on her practice and her subjects, the seventy facsimiles of articles and essays––an archive by all accounts––trace the discourse on Diane Arbus, contextualizing her hugely successful oeuvre. Also with an annotated bibliography of more than six hundred entries and a comprehensive exhibition history, Documents serves as an important resource for photographers, researchers, art historians, and art critics, in addition to students of art criticism and the interested reader alike.

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