Search results for ""Art Publishers""

How Hofer used the photobook form to chronicle American and European cities in an era of postwar transformation Evelyn Hofer was a highly innovative photographer whose prolific career spanned five decades. Despite her extraordinary output, she was underrecognized during her lifetime and was notably referred to by New York Times art critic Hilton Kramer as “the most famous unknown photographer in America.” She made her greatest impact through a series of photobooks, published throughout the 1960s, devoted to European and American cities, including Florence, London, New York, Washington and Dublin, and a book focused on the country of Spain. Comprising more than 100 photographs in both black and white and color, Eyes on the City accompanies the artist’s first major museum exhibition in the United States in over 50 years and is organized around her photobooks. The photographs feature landscapes and architectural views combined with portraiture, conveying the unique character and personality of these urban capitals during a period of intense structural, social and economic transformations after World War II. Evelyn Hofer (1922–2009) was born in Germany and moved to New York in 1946. She was an early adopter of color photography and published assignments for many major magazines including Vogue and Harper's Bazaar. Hofer collaborated with authors such as Mary McCarthy and V.S. Pritchett on several books, including The Stones of Florence (1959), London Perceived (1962) and Dublin: A Portrait (1967). She died in Mexico City.

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Artists from Nam June Paik to Arthur Jafa show how modern digital technologies have shaped the art and themes of our time Surveying some 50 years of groundbreaking art related to digital technology and the screen, I’ll Be Your Mirror examines how technologies such as home computers, smartphones and TV have affected art and life over the past five decades. It traces a trajectory stretching back to the late 1960s, a watershed moment in the rise of the screen in the home. Today, accelerated by the pandemic, our daily life is mediated through screens for work, entertainment and sociality. Artists include: Lillian Schwartz, Nam June Paik, Lynn Hershman Leeson, Andy Warhol, Gretchen Bender, Eva and Franco Mattes, Jacqueline Humphries, Cory Arcangel, Petra Cortright, Elias Sime, Rafael Lozano-Hemmer, Trevor Paglen, Hito Steyerl, Liss LaFleur, Kristin Lucas, Rick Silva, Wickerham & Lomax, Avery Singer, American Artist, Simon Denny, Skawennati, Jacolby Satterwhite, Carson Lynn, Ed Atkins, Arthur Jafa, Cao Fei and Frances Stark.

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Long overdue, this first comprehensive survey spans three decades of Simmons’ richly layered, socially engaged art Covering 30 years of sculptures, paintings, works on paper, large-scale wall drawings, installations and site-specific works, this book presents the art of Gary Simmons, one of the most respected artists of his generation. Since the late 1980s, Simmons has played a key role in situating questions of race, class and gender identity within art discourse. He is notable for combining pop-cultural imagery with conceptual artistic strategies to expose and analyze histories of racism inscribed in US visual culture. Over the course of his career, Simmons has revealed traces of these histories in the fields of sports, cinema, literature, music, and architecture and urbanism while drawing on popular genres such as hip-hop, horror and science fiction. His approach is cool and unflinching in its interrogation of historical and cultural narratives, yet the results consistently deliver a strong emotional charge. This publication offers readers the opportunity to gain a holistic understanding of the complex, profoundly moving work of this influential artist. Gary Simmons was born in 1964 in New York City, where he was raised. Today he lives and works in Los Angeles. He received a BFA in 1988 from the School of Visual Arts, New York, and an MFA in 1990 from the California Institute of the Arts, Valencia; he also studied at Hunter College, New York. He has received numerous awards, including the Studio Museum in Harlem Joyce Alexander Wein Prize (2013), the George Gund Foundation USA Gund Fellowship (2007) and the National Endowment for the Arts Interarts Grant (1990).

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Everyday objects transformed into an extraordinary elephant sculpture Over the past two decades, British Columbia–based Indigenous artist Brian Jungen (born 1970) has become internationally recognized for his imaginative body of sculpture using repurposed material. This book takes a deep dive into his process and influences in the creation of a monumental elephant sculpture made out of couches—the first-ever public art commission at the Art Gallery of Ontario. Generously illustrated, the book offers a significant visual record from early sketches and ideas through to production, transportation and installation. It details Jungen’s deep material explorations which highlight a long history of inequality, a concern for the environment and a profound commitment to Indigenous ways of knowing and making. A timeline from Henry Moore's public sculpture The Archer to Couch Monster sets Jungen’s career in context, and an interview between AGO Chief Curator Julian Cox and Jungen looks at the development of the project.

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The extraordinary journey of an “impossible” sculpture made from the negative form of an ancient Korean gate In 2006, London-based Korean artist Do Ho Suh (born 1962) began work on a seemingly impossible project—to “make something out of nothing,” casting the negative form of a traditional Korean gate in solid acrylic resin. Portal would take nearly a decade to complete, and would provide the site for fundamental developments in Suh’s thinking on the role of both artist and museum in the 21st century, as well as the relationship between East and West. This volume tells the epic story of that process through those who made it possible. Through color illustrations and texts, it provides unique access to the typically veiled fabrication process: the process of scanning, modelling and constructing a nine-ton sculpture that would appear as if it was not there, a “living ghost image” cast from negative space.

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A captivating selection of family snapshots taken from his mother's photo albums, Michael Snow’s latest artist’s book illuminates patterns and motifs in the passage of time Over the past half-century, through works such as the milestone avant-garde film Wavelength (1967), Toronto-based artist Michael Snow (born 1928) has explored the nature of perception, consciousness, language and temporality. This last theme is particularly relevant to his latest artist’s book, which is dedicated to the life of his adventurous mother, Marie-Antoinette Françoise Carmen Levesque Snow Roig, whose trove of family photographs provide a narrative throughline here. Snow consolidates his mother’s photo albums, presenting a total of 1,500 images. In a tenderly penned foreword, he explains the simple impetus for the project: “[The photographs] are so beautiful and so historic that I wish to share them with others.” While he has integrated small samples of these albums into his work before—notably figuring in his landmark catalog for the Art Gallery of Ontario in 1970, Michael Snow/A Survey—this volume provides a much larger and more unified selection. As a result, the compiled images tell a more complete biographical story—one that Snow leaves intact on the surface. He brings his own layer of interpretation to the photographs by drawing out patterns within the collection and his mother’s writing. Snow creates an album that is fully his own, embracing, as art historian Martha Langford describes, a “deep understanding and surrender to form.”

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The first book on Alison Elizabeth Taylor, known for her daring fusion of wood inlay technique with gritty, dystopian scenes of deserts, casinos and cocktail lounges Repudiating distinctions between craft and high art, and transcending both marquetry (wood inlay) and painting, the meticulously crafted works of Alison Elizabeth Taylor are as much about seeing as they are about making. Juxtaposing the over-the-top connotations of this ancient craft with dystopian images of blighted desert landscapes, anonymous subdivisions, glitzy casinos and seedy cocktail lounges, Taylor creates a tension between surface and subject, appearance and reality. The splendor of the shellacked wood invites us to consider the innate humanity of marginalized subjects we might otherwise overlook as well as the often-ignored impact of a boom-and-bust economy on American life and culture. Featuring insightful essays by leading curators and writers, this fully illustrated publication traces the evolution of the artist’s work from early paintings that explore space, line, color and form within the limited palette afforded by the grains and tones of natural woods to vividly colored “hybrids” that layer marquetry, paint and photographic imagery, to brand-new and increasingly complex works inspired by the resilience of the artist’s urban neighborhood and community during the pandemic. Raised in Las Vegas, Nevada, Alison Elizabeth Taylor (born 1972) received her MFA from the Graduate School of the Arts, Columbia University in 2005. Her work has been exhibited widely throughout the world. In 2009, she received a Louis Comfort Tiffany Foundation Award and the Smithsonian's Artist Research Fellowship Program Award. Taylor lives and works in Brooklyn, NY.

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The overlooked yet vibrant history of Black participation in American film, from the beginning of cinema through the civil rights movement From the dawn of the medium onward, Black filmmakers have helped define American cinema. Black performers, producers and directors—Bert Williams, Oscar Micheaux, Herb Jeffries, Lena Horne, Dorothy Dandridge, Ruby Dee and William Greaves, to name just a few—had a vast and resounding impact. Black film artists not only developed an enduring independent tradition but also transformed mainstream Hollywood, fueled and reflected sociopolitical movements, captured Black experience in all its robust complexity, and influenced generations to come. As harrowing as it is beautiful, this history of Black cinema and its legacy is often overlooked. Regeneration accompanies a first-of-its-kind exhibition at the Academy Museum of Motion Pictures exploring seven decades of Black participation in American cinema. Amplifying this underrepresented history in colorful and striking detail, the book features an in-depth curatorial essay and scholarly case-study texts on topics such as early Black independent filmmaking, Black spectatorship during the Jim Crow era and home movies as an essential form of Black self-representation. The volume also makes meaningful connections to the present through interviews with award-winning contemporary Black filmmakers Charles Burnett, Julie Dash, Ava DuVernay, Barry Jenkins and Dawn Porter. An extensive filmography and chronology offer an essential resource for anyone interested in Black cinema, while images of contemporary visual artworks further illustrate the volume throughout.

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This first ever book on the Bay Area Beat artist reveals a unique drawing style that dovetails Cocteau with Japanese and Renaissance printmaking “Rick Barton should have been a San Francisco legend,” declared author and artist Etel Adnan in a 1998 essay. Working primarily in pen or brush and ink in a kaleidoscopic linear style, Barton (1928–92), who was born and raised in New York and settled in the San Francisco Bay Area in the 1950s, ceaselessly recorded the world around him, whether the enclosed space of his room, the cafes in which he spent his days, his lovers and friends, or the ornate churches and botanical subjects that seem to have held particular fascination for him. Flourishing in San Francisco’s gay and Beat subcultures of the 1950s and ’60s, Barton accrued a group of disciples who were drawn to his singular style, which synthesized sources as disparate as Renaissance and Japanese woodblock prints and the delicate line drawings of Jean Cocteau. Bringing together more than 60 drawings, two accordion-folded sketchbooks, and printed portfolios and books, Writing a Chrysanthemum: The Drawings of Rick Barton presents for the first time the work of this unique artist who was a significant, and until now unheralded, figure of the Beat era. Rachel Federman, the curator of the exhibition at the Morgan Library & Museum, has written a deeply researched essay on the artist and his work. An excerpt of Adnan’s essay—the first published account of Barton—is reprinted in the catalog.

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"Jackson’s paintings synthesize connections shared by local residents of color around experiences of transportation, housing, agriculture and labor" –New York Times The first monograph on Tomashi Jackson (born 1980), The Land Claim illustrates the Cambridge- and New York–based artist's unique work and research methodology that focuses on the historic and contemporary lived experiences of Indigenous, Black and Latinx families on the East End of Long Island, and how the role of women, the meaning of labor and the sacredness of land link these communities. Jackson’s intricately layered and boldly composed large-scale paintings are featured alongside transcribed interviews and archival images from her research. Jackson provokes an urgent discourse around historical narratives of labor, collective memory, educational access, transportation and land rights experienced by communities of color.

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An artist's book exploring the language of protest A new artist's book by Adam Pendleton (born 1984), As Heavy as Sculpture follows Pendleton's 2021 installation of the same title, exhibited at the New Museum in New York. The book collects, repeats and processes over 80 source collages, incorporating drawings, sketches, writing and marks, often in combination with images. Much of the language in the collages is drawn from the protests against police brutality that swept the US in 2020: Pendleton has transcribed slogans sprayed on walls and windows, combining them with his own improvised language as well as photographs of art objects and artifacts (sculptures, masks and figures). The work points to the poetic pressure that uprisings place on language itself, compressing it in some cases into the barest of forms: simple sequences like “ACAB” or “1312,” further reducible to the elements “A, B, C,” “1, 2, 3.” In parallel with these operations of decomposition and recomposition, the collages in As Heavy as Sculpture have been duplicated, laid out across 30 sheets and folded into book signatures, creating new displacements and cuts. This folding is in effect a chance operation, a procedure of recombination and translation, resulting in arrangements of images not planned out in advance.

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A landmark book reframing ancient Colombian art—including goldwork, ceramics, textiles and more—as vehicles of cultural knowledge across space and time Spanning all major pre-Columbian cultures of Colombia, and featuring some of the most remarkable artworks ever made in this region—from intricately cast gold pendants and ceramic effigies to modern Indigenous stools, barkcloths and featherworks—The Portable Universe/El Universo en tus Manos: Thought and Splendor of Indigenous Colombia radically recasts how we approach ancient Colombian art. Featuring an innovative cover design with tip-on images, the book is arranged so as to envelop the works with life and meaning, and guide readers to different ways of understanding the world and our place in it. It includes insightful contributions by Indigenous Colombians, historians, ethnographers, archaeologists and art historians. The Portable Universe/El Universo en tus Manos recaptures some of the knowledge of Indigenous American cultures and presents new historical findings, drawing heavily on contemporary Indigenous understandings to evoke a worldview in which these ancient pieces make sense and have power today.

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An inspirational trove of film posters and ephemera, photographs, artwork and more from the collection of Spike Lee For nearly four decades, Spike Lee has made movies that demand our attention. His extensive filmography reflects an unflinching critique of race relations in the United States, from the Student Academy Award®–winning short Joe's Bed-Stuy Barbershop: We Cut Heads and the ever-relevant Do the Right Thing to the more recent Oscar®-winning BlacKkKlansman and Da 5 Bloods. A lifelong cinephile and film scholar, Lee draws inspiration from other artists working across a range of eras, genres and global cinemas. He has also devoted much of his career to teaching the next generation of filmmakers. Spike Lee: Director’s Inspiration presents Lee’s personal collection of original film posters and objects, photographs, artworks and more—many of these inscribed to Lee personally by filmmakers, stars, athletes, activists, musicians and others who have inspired his work in specific ways. Straight from the walls of Lee’s 40 Acres and a Mule production studio in Brooklyn, his faculty office at NYU and his Martha’s Vineyard home, these objects offer a glimpse into what shapes Lee’s signature filmmaking approach. Spike Lee: Director’s Inspiration also includes a conversation between Lee and Shaka King (Judas and the Black Messiah) and brief texts by some of the many artists Lee himself has inspired. Spike Lee (born 1957) is a director, writer, actor, producer, author and artistic director of the graduate film program at NYU’s Tisch School of the Arts, where he has taught since 1993.

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An intimate look at one of the most radical and groundbreaking printmakers of all time, the American Impressionist Mary Cassatt This book examines the radical experimentation and innovation of one of the finest and most creative printmakers of the 19th century. A collaborator with the Impressionists Edgar Degas and Camille Pissarro, Mary Cassatt (1844–1926) made some of her greatest artistic achievements as a printmaker. Her prints reveal the personal and introspective side of an American artist who was at the center of the French art world. Addressing themes of creativity, domesticity, motherhood, fashion, intimacy and privacy, Inside Out: The Prints of Mary Cassatt brings readers into close contact with an artist who used printmaking to consider issues of identity and selfhood in a changing modern world. This publication, which investigates the artist’s exploration of the medium over a period of two decades, also features an original pattern design by contemporary designer Frances MacLeod.

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A radical reconception of Degas’ sculpture through the lens of gender, labor and more, with new photography of the works This substantial new monograph on the work of Edgar Degas (1834–1917), one of the most significant artists of the 19th and 20th centuries, is a decisive contribution to the literature on the French Impressionist artist. An innovative and groundbreaking book, with underlying discussions related to “dance, politics and society,” it pays special attention to issues of gender, identity, labor, race and the representation of women. Degas worked in various mediums, and, at the end of his life, left around 6,000 works, including 2,000 related to the world of dance and ballet. The contradictions and ambiguities of his art, especially the way he straddles both tradition and modernity, reaffirm both his uniqueness and significance in the history of Western art. Degas: Dance, Politics and Society includes ten essays, never before published, by experts around the world, and also features a visual essay of black-and-white photographs of the bronze sculptures, including Little Dancer Aged Fourteen, by the Brazilian artist Sofia Borges. Through her camera, Borges reinterprets and conceives new images of Degas' most cherished and classic sculptures. Borges’ extraordinary photographs reveal, transform and revisit Degas’ works in an innovative and radical manner.

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In this sequel to GingerNutz: The Jungle Memoir of a Model Orangutan, we see the ginger-haired beauty cavorting about the famous landmarks of Paris and visiting the ateliers of storied fashion designers. She’s back! After becoming a breakout star in the fashion world, GingerNutz, the first Bornean-born orangutan supermodel, has landed in Paris for a whirlwind week of fittings, photo shoots and parties. Though born in humble jungle surroundings, the precocious primate quickly adjusts to life at the upper echelons of the fashion world: bookings at all the maisons de haute couture, front-row seats to the latest theater shows and hotel suites at the Ritz. In this sequel to GingerNutz: The Jungle Memoir of a Model Orangutan, we see the ginger-haired beauty cavorting about the famous landmarks of Paris – Notre Dame Cathedral, Café de Flore – and visiting the ateliers of storied fashion designers including Azzedine Alaïa, Jean-Paul Gaultier, Thierry Mugler, Comme des Garçons and Dries van Noten. Being the hottest model of the moment, GingerNutz will also model the latest haute couture styles, chosen at the Fall 2018 shows in Paris by Grace Coddington. Michael Roberts’ charming text and hand-drawn illustrations capture the wonder and whimsy of a glamorous but still naïve young girl’s adventures in Paris. The story of GingerNutz was inspired by legendary model and fashion editor Grace Coddington, the longtime creative director of American Vogue and a close friend of the author.

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Philippe Thomas' entrepreneurial experiment questions the distinction between authorship and ownership French artist Philippe Thomas (1951–95) never intended to make a name for himself; rather, he was much more invested in the artist’s ability to disappear behind his work. In 1987 he created readymades belong to everyone®, a communication and events agency that mainly provided posters and signboards for different advertising campaigns. Though he was the sole creator of these artifacts, Thomas declined to sign his name on any of them so that the provenance of such pieces took priority over their initial origin—the collector or institution who commissioned or purchased the works would sign their names instead. The entrepreneurial project became a years-long experiment in testing the limitations of authorship and artistry in a post-Duchamp world. This volume provides documentation of the project, along with a final previously unpublished interview by Thomas that enables readers to understand the coherence of his entire work.

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A sweeping retrospective of Philip Guston’s influential work, from Depression-era muralist to abstract expressionist to tragicomic contemporary master A Wall Street Journal 2020 holiday gift guide pick Philip Guston—perhaps more than any other figure in recent memory—has given contemporary artists permission to break the rules and paint what, and how, they want. His winding career, embrace of “high” and “low” sources, and constant aesthetic reinvention defy easy categorization, and his 1968 figurative turn is by now one of modern art’s most legendary conversion narratives. “I was feeling split, schizophrenic. The war, what was happening in America, the brutality of the world. What kind of man am I, sitting at home, reading magazines, going into a frustrated fury about everything—and then going into my studio to adjust a red to a blue?” And so Guston’s sensitive abstractions gave way to large, cartoonlike canvases populated by lumpy, sometimes tortured figures and mysterious personal symbols in a palette of juicy pinks, acid greens, and cool blues. That Guston continued mining this vein for the rest of his life—despite initial bewilderment from his peers—reinforced his reputation as an artist’s artist and a model of integrity; since his death 50 years ago, he has become hugely influential as contemporary art has followed Guston into its own antic twists and turns. Published to accompany the first retrospective museum exhibition of Guston’s career in over 15 years, Philip Guston Now includes a lead essay by Harry Cooper surveying Guston's life and work, and a definitive chronology reflecting many new discoveries. It also highlights the voices of artists of our day who have been inspired by the full range of his work: Tacita Dean, Peter Fischli, Trenton Doyle Hancock, William Kentridge, Glenn Ligon, David Reed, Dana Schutz, Amy Sillman, Art Spiegelman and Rirkrit Tiravanija. Thematic essays by co-curators Mark Godfrey, Alison de Lima Greene and Kate Nesin trace the influences, interests and evolution of this singular force in modern and contemporary art—including several perspectives on the 1960s and ’70s, when Guston gradually abandoned abstraction, returning to the figure and to current history but with a personal voice, by turns comic and apocalyptic, that resonates today more than ever.

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An exploration of the visual corollary to Didion’s life and work and the feeling that each generates in her admirers, detractors and critics—including artists from Helen Lundeberg to Diane Arbus, Betye Saar to Maren Hassinger, Vija Celmins and Andy Warhol In Joan Didion: What She Means, the writer and curator Hilton Als creates a mosaic that explores Didion's life and work and the feeling each generates in her admirers, detractors and critics. Arranged chronologically, the book highlights Didion's fascination with the two coasts that made her. As a Westerner transplanted to New York, Didion was able to look at her native land, its mores and fixed rules of behavior, with the loving and critical eyes of a daughter who got out and went back. (Didion and her late husband moved from New York to Los Angeles in 1964, where they worked as highly successful screenwriters, producing scripts for 1971's The Panic in Needle Park and 1976's A Star Is Born, among other works, before returning to New York 20 years later.) And from her New York perch, Didion was able to observe the political scene more closely, writing trenchant pieces about Clinton, El Salvador and most searingly the Central Park Five. The book includes more than 50 artists ranging from Brice Marden and Ed Ruscha to Betye Saar, Vija Clemins and many others, with works in all mediums including painting, ephemera, photography, sculpture, video and film. Also included are three previously uncollected texts by Didion: “In Praise of Unhung Wreaths and Love” (1969); a much-excerpted 1975 commencement address at UC Riverside; and “The Year of Hoping for Stage Magic” (2007).

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The only comprehensive volume on James Turrell is back in print—from early prints and light projections to his monumental Roden Crater project This definitive book illuminates the origins and motivations of James Turrell’s incredibly diverse and exciting body of work—from his Mendota studio days to his monumental work-in-progress Roden Crater. Whether projecting shapes on a flat wall or into the corner of a gallery space, Turrell is perpetually asking us to "go inside and greet the light"—evoking his Quaker upbringing. In fact, all of Turrell’s work has been influenced by his life experiences with aviation, science and psychology, and as a key player in Los Angeles’ exploding art scene of the 1960s. Enhanced by thoughtful essays and an illuminating interview with the artist, this monograph explores every aspect of Turrell’s career—from his early geometric light projections, prints and drawings, through his installations exploring sensory deprivation and seemingly unmodulated fields of colored light, to two-dimensional experiments with holograms. It also features an in-depth look at Roden Crater, a site-specific intervention into the landscape near Flagstaff, Arizona, which is presented through models, plans, photographs and drawings. Fans of this highly influential artist will find much to savor in this wide-ranging and beautiful book, featuring specially commissioned photography by Florian Holzherr. As an undergraduate, James Turrell (born 1943) studied psychology and mathematics, transitioning to art only at MFA level. The recipient of several prestigious awards, including Guggenheim and MacArthur fellowships, Turrell lives in Arizona.

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A comprehensive survey of rarely seen collages from the master of abstraction Over the course of more than 50 years, renowned American artist Ellsworth Kelly made approximately 400 postcard collages, some of which served as exploratory musings and others as studies for larger works in other mediums. They range from his first monochrome in 1949 through his last postcard collages of crashing ocean waves, in 2005. Together, these works show an unbounded space of creative freedom and provide an important insight into the way Kelly saw, experienced and translated the world in his art. Many postcards illustrate specific places where he lived or visited, introducing biography and illuminating details that make these pieces unique among his broader artistic production. Ellsworth Kelly: Postcards is the most extensive publication of Kelly’s lifelong practice of collaged postcards. Ellsworth Kelly (1923–2015) was born in Newburgh, New York. In 1948 he moved to France, where he came into contact with a wide range of classical and modern art. He returned to New York in 1954 and two years later had his first exhibition at the Betty Parsons Gallery. The Museum of Modern Art, New York, organized his first retrospective in 1973. Subsequent exhibitions have been held at museums around the world, including the Solomon R. Guggenheim Museum in New York, Tate in London, Haus der Kunst in Munich and the Centre Pompidou in Paris.

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Expanding Architecture presents a new generation of creative design carried out in the service of the greater public and the greater good. Questioning how design can improve daily lives, editors Bryan Bell and Katie Wakeford map an emerging geography of architectural activism – or ‘public-interest architecture’ – that might function akin to public interest law or medicine by expanding architecture’s all-too-often elite client base. With 30 essays by practising architects and designers, urban and community planners, historians, landscape architects, environmental designers and members of other fields, this volume is full of work from around the world that illustrates the ways in which design can address issues of social justice, allow individuals and communities to plan and improve their own lives and serve a much larger percentage of the population than it has in the past. This new inclusionary practice must define new services and new processes, and these are illuminated in the generously illustrated texts as well. Examining evolving notions of socially conscious practice, this book serves as an essential guide for designers who are willing to take on the social, economic and environmental challenges we face today.

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The concrete poetry collection of the legendary Bay Area book dealer and collector Steven Leiber—with rare gems from the De Campos brothers, Ian Hamilton Finlay, Bob Cobbing and more MAMCO has devoted a semipermanent exhibition space to concrete poetry since 2016, resulting in the acquisition of a significant group of works falling under this label. This includes the purchase of the Steven Leiber collection. Leiber was a pioneering San Francisco art dealer, collector and gallerist who specialized in the “dematerialized” art of the 1960s and 1970s and the ephemera and documentation spawned by Conceptual art and other postwar movements. The collection features important figures such as Ian Hamilton Finlay, Augusto and Haroldo de Campos, Dom Sylvester Houédard, John Furnival, Maurizio Nannucci, Franz Mon, Ruth Wolf-Rehfeldt, Natalie Czech, Julien Blaine, Jean-François Bory, Pierre and Isle Garnier, Bob Cobbing and Richard Kostelanetz.

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New sculptures and installations that critically examine the formal, social and linguistic roles of live models Over the past three decades, Iranian-born, German-based artist Nairy Baghramian (born 1971) has created sculptures and installations that upend expected modes of presentation and challenge the architectural, social, political and historical contexts that inform them. The new works featured in this publication explore the provisional body as the site of trauma—drawing inspiration from the tradition of the “modèle vivant,” the French term for a live model in an art class. In her "ambivalently abstract" works, the artist takes unconventional approaches to materials associated with sculptural traditions of casting, including aluminum, lead, steel and wax. In conversation with sculptures from the Nasher’s permanent collection by Louise Bourgeois, Henri Matisse, Pablo Picasso and others, Baghramian’s works offer new ways to think about representations of bodies and the unseen labor of models, as well as the linguistic play afforded by different meanings of the word “model” and its linguistic relatives, such as “modulate” and “modify.”

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