Search results for ""Distributed Art Publishers""

Chronicles of sex and disco in ’70s San Francisco, from the revolutionary musician behind “You Make Me Feel (Mighty Real)” Patrick Cowley (1950–82) was one of the most revolutionary and influential figures in electronic dance music. Born in Buffalo, Cowley moved to San Francisco in 1971 to study music at the City College of San Francisco. By the mid '70s, his synthesizer techniques landed him a job composing and producing songs for disco diva Sylvester, including hits such as "You Make Me Feel (Mighty Real)." Cowley created his own brand of peak-time party music known as Hi-NRG, dubbed "the San Francisco Sound." His life was cut short on November 12, 1982, when he died shortly after his 32nd birthday from AIDS-related illness. Mechanical Fantasy Box is Cowley's homoerotic journal, or, as he called it, "graphic accounts of one man's sex life." The journal begins in 1974 and ends in 1980 on his 30th birthday. It chronicles his slow rise to fame from lighting technician at the City Disco to crafting his ground-breaking 16-minute remix of Donna Summer's "I Feel Love" to performing with Sylvester at the SF Opera House. Vivid descriptions are told of cruising in '70s SoMA sex venues, ecstatic highs in Buena Vista Park and composing "pornophonics" in his Castro apartment. For this book, artist Gwenaël Rattke created 25 original illustrations inspired by selected entries, three street maps documenting locations mentioned herein, and four collages of photos, ephemera and notes that Cowley had inserted in the journal. This book shows a very out-front, alive person going through the throes of gay liberation post-Stonewall.

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Visible | Invisible presents 40 of the completed landscape designs by the widely recognized firm Reed Hilderbrand. Douglas Reed and Gary Hilderbrand are known for their rigorously conceived and carefully executed projects that merge the particular native qualities of a site with recognizably contemporary design expression. Their embrace of modernism, devotion to intellectual traditions in their field and deep engagement with horticulture, ecology and urban forestry are evident in all of their work. The firm has worked with numerous internationally known architects, including Allied Works Architecture, ARO | Architecture Research Office, Machado and Silvetti, Safdie Associates and Tadao Ando Architects. The book’s narrative describes Reed Hilderbrand’s sensibilities and working methods, examining a range of public and private commissions including institutional campuses in urban and rural settings, residences and civic infrastructure projects. An introduction by Reed and Hilderbrand looks at the firm’s 20-year evolution, and five essays by noted scholars develop specific themes that characterize the work. Also included are an extensive photographic essay by Millicent Harvey, and 60 drawings that document the featured projects and several unbuilt works. Internationally renowned landscape architect Peter Walker contributes a preface, placing Reed Hilderbrand’s 20 years of work within the highest calibre of landscape architectural projects being executed worldwide today. Elegantly designed and lavishly produced, Visible | Invisible is ideal for architects, designers, gardeners, preservationists and anyone who appreciates truly beautiful books.

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Since the early 1970s, when he hit the streets of Los Angeles with a 35mm camera and the basic technical knowledge he had acquired in darkroom classes at East Los Angeles College, photographer Anthony Hernandez has consistently challenged himself by adopting new formats and subject matter. Moving from black-and-white to colour, from 35mm to large-format cameras and from the human figure to landscapes to abstracted detail, Hernandez has produced a varied body of work united by its arresting formal beauty and subtle engagement with social issues. At first largely unaware of the formal traditions of the medium, Hernandez developed a style of street photography uniquely attuned to the desolate beauty and sprawling expanses of L.A. Published to accompany the photographer’s first retrospective, Anthony Hernandez offers a comprehensive introduction to Hernandez’s career of more than forty years, including many photographs that have never before been exhibited or published. The catalogue fully represents the range and breadth of Hernandez’s work, with an extensive plate section sequenced in collaboration with the photographer.

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Ralph Gibson's diptych portrayal of Israel, a land at once deeply modern and incredibly ancient The American photographer Ralph Gibson traveled throughout Israel and the surrounding region to create a portrait of a land where the past is vividly part of the present. He contrasts these in two-page spreads in which color and black-and-white images face one another: ancient language in a visual dialogue with contemporary human experience. As architect Moshe Safdie writes in his accompanying text: “This is the promise and paradox of Israel, a new country in an ancient land, modernity next to regression, with abundant and creative energy and cultural output. The high-tech world of invention next to Torah studies. It is still a young country, not even yet past its Centennial. With an optimistic eye, one sees the promise yet to be.” For this project, Gibson visited many of the well-known sites of the Holy Land, including the ancient city of Petra in Jordan as well as Masada and the Sea of Galilee flowing into the River Jordan. Sacred Land is a sumptuous study in the aesthetics of time. Ralph Gibson was born in Los Angeles in 1939. In 1956 he enlisted in the navy, where he began studying photography. Since he published his first photobook The Somnambulist in 1970, his work has been the subject of over 40 monographs. His work is widely exhibited and held in public collections around the world, such as the Stedelijk Museum, Amsterdam, and the Museum of Modern Art, New York. He lives and works in New York.

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Part artist's book, part exhibition catalog, this book chronicles Tauba Auerbach’s multimedia syntheses of abstraction, science, graphic design and typography Tauba Auerbach studies the boundaries of perception through an art and design practice grounded in math, science and craft. Published in conjunction with the first major survey of the artist’s work, this volume, designed by Auerbach in collaboration with David Reinfurt, spans 16 years of their career, highlighting their interest in concepts such as duality and its alternatives, interconnectedness, rhythm and four-dimensional geometry. Encapsulating Auerbach’s longstanding consideration of symmetry, texture and logic, the title S v Z offers a framework for this volume’s typeface, design and structure. Images of more than 130 paintings, drawings, sculptures and artist’s books are mirrored by a comprehensive selection of related reference images, illuminating their multifaceted practice as never before. Essays by Joseph Becker, Jenny Gheith and Linda Dalrymple Henderson provide further context for the work. The book contains original marble patterns created specially for the book by the artist on both the endpapers and the edges of the book block. The cover is lettered in Auerbach’s calligraphy, applied in black foil on a silver paper. The typeface was designed by David Reinfurt with Auerbach expressly for this publication, and is based on their handwriting. New York–based artist Tauba Auerbach (born 1981) grew up in San Francisco and graduated from Stanford University in 2003. They apprenticed and worked as a sign painter at New Bohemia Signs in San Francisco. In 2013 they founded Diagonal Press. They are represented by Paula Cooper Gallery, New York, and Standard Oslo.

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What’s new, now and next from contemporary Black artists A New York Times 2020 holiday gift guide pick This book surveys the work of a new generation of Black artists, and also features the voices of a diverse group of curators who are on the cutting edge of contemporary art. As mission-driven collectors, Bernard I. Lumpkin and Carmine D. Boccuzzi have championed emerging artists of African descent through museum loans and institutional support. But there has never been an opportunity to consider their acclaimed collection as a whole until now. Edited by writer Antwaun Sargent (author of The New Black Vanguard: Photography Between Art and Fashion), Young, Gifted and Black draws from this collection to shed new light on works by contemporary artists of African descent. At a moment when debates about the politics of visibility within the art world have taken on renewed urgency, and establishment voices such as the New York Times are declaring that “it has become undeniable that African American artists are making much of the best American art today,” Young, Gifted and Black takes stock of how these new voices are impacting the way we think about identity, politics and art history itself. Young, Gifted and Black contextualizes artworks with contributions from artists, curators and other experts. It features a wide-ranging interview with Bernard Lumpkin and Thelma Golden, director and chief curator of the Studio Museum in Harlem; and an in-depth essay by Antwaun Sargent situating Lumpkin in a long lineage of Black art patrons. A landmark publication, this book illustrates what it means (in the words of Nina Simone) to be young, gifted and Black in contemporary art. Artists include: Mark Bradford, David Hammons, Glenn Ligon, Kerry James Marshall, Julie Mehretu, Adam Pendleton, Pope.L, LaToya Ruby Frazier, Henry Taylor, Mickalene Thomas, Lynette Yiadom-Boakye, Tunji Adeniyi-Jones, Sadie Barnette, Kevin Beasley, Jordan Casteel, Jonathan Lyndon Chase, Bethany Collins, Noah Davis, Cy Gavin, Allison Janae Hamilton, Tomashi Jackson, Samuel Levi Jones, Deana Lawson, Norman Lewis, Eric N. Mack, Arcmanoro Niles, Jennifer Packer, Christina Quarles, Jacolby Satterwhite, Paul Mpagi Sepuya, Sable Elyse Smith, Chanel Thomas, Stacy Lynn Waddell, D’Angelo Lovell Williams, Brenna Youngblood, and more.

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On Curating, Carolee Thea's second volume of interviews with ten of today's leading curators, explores the intellectual convictions and personal visions that lay the groundwork for the most prestigious and influential exhibitions in the world today. Among the aesthetic and theoretical issues raised are the relationship between artist and curator, globalism, post-colonialism, capitalism, the future of cultural tourism and the biennial as spectacle or utopian ideal. As Thea notes in her introduction, "the biennial or mega-exhibition--a laboratory for experimentation, investigation and aesthetic liberation--is where the curators' experience and knowledge are tested. As they negotiate venues for artistic expression, intellectual critiques and humanistic concerns in their own societies and others, they are challenged by the certainties and uncertainties of a constantly evolving future." Thea's interviewees are Joseph Backstein, Carolyn Christov-Bakargiev, Okwui Enwezor, Charles Esche, Massimiliano Gioni, RoseLee Goldberg, Mary Jane Jacob, Pi Li, Virginia Perez-Ratton and Rirkrit Tiravanija. On Curating also includes 50 color illustrations of relevant works by (among others) Kutlug Ataman, Tamy Ben-Tor, John Bock, Cao Fei, Olafur Eliasson, Isaac Julien, Francois & Philippe Parreno, Yvonne Rainer, Michael Rakowitz, Doris Salcedo, Allan Sekula, Yinka Shonibare and Francesca Woodman. Carolee Thea is a curator, critic, art historian and independent scholar. Her first book, Foci: Interviews with Ten International Curators was published in 2001. She is contributing editor at ArtAsiaPacific and Sculpture magazine and was the English editor of Atlántica 45. Her articles, reviews and interviews have been published in many arts journals, among them Parkett, Artforum.com, The New Art Examiner, Modern Painters, Artnet.com, ZSijue 21 Beijing, Heresies, Tema Celeste, Parachute and ArtNews.

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Her language for exploring [history] is at once serious and exuberant. Siddhartha Mitter, New York TimesOver the last 15 years, Firelei Báez has created artwork that delves into the historical narratives of the Atlantic Basin. She draws on the disciplines of anthropology, geography, folklore, fantasy, science fiction and social history to unsettle categories of race, gender and nationality in her paintings, drawings and installations. Her exuberant paintings feature finely wrought, complex and layered uses of pattern, motifs and saturated hues. Primarily centering women of color, her works incorporate regal fashion styles and decorative elements as well as defiant gazes in order to assert their authority.In advance of her North American traveling solo exhibition, this lushly illustrated book offers audiences an opportunity to gain a holistic understanding of Báez's complex body of work, cementing her as one of today''s most important artists. Partl

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A landmark publication featuring 60 career-spanning photographs by Ellsworth Kelly, one of the most revered artists of the past 100 yearsMarking the first museum exhibition devoted solely to the photographs of Ellsworth Kelly, this beautifully designed volume features each photograph in the Santa Barbara Museum of Art's illuminating presentation of this lesser-known aspect of Kelly's art. From the late 1940s on, Kelly created an era-defining body of abstract art based on many kinds of visual phenomena he perceived around him. Largely made for himself, Kelly's photographs record these discoveries in tightly-composed images of nature and architecture that often reverberate with striking sunlight and shadow.Similar as they may appear, Kelly did not base his paintings, sculpture and works on paper on his photographs. The camera for Kelly was yet one more artistic tool he used to brilliantly transcribe his lived surroundings into an art that, however abstract,

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The most comprehensive volume yet published on the work and legacy of the "forgotten star of Pop art," with previously unpublished materials and new scholarly explorations In the mid-1960s Marisol was lauded as the female artist of her generation and was proclaimed to be "the only girl artist with glamour" for her fashion sense and "the Latin Garbo" for her apparent exoticism, legendary beauty and famed silences. Thousands lined up to see her remarkable life-size Pop art sculptures early in her career, and her celebrity nearly overshadowed her formidable accomplishments. But this attention would fade following her temporary retreat from the art world in the late 1960s and a shift in her work's subject matter. Her 2016 obituary in the Guardian described her as "the forgotten star of Pop art." This catalog, the most comprehensive on Marisol’s work ever assembled, accompanies a major traveling retrospective organized by the Buffalo AKG Art Museum (formerly the Albright-Knox Art Gallery) that reckons with the entirety of her pioneering, multifaceted, 60-year career. While celebrating her satirical and deceptively political sculptures and self-portraits that helped define the 1960s, the book’s essays also examine her works that embody animal intelligence and allude to environmental precarity, testify to interpersonal violence, engage with the immigrant experience, figure postcolonial disenfranchisement and destabilize sexual norms and gender binaries. Her public sculptures and collaborations with choreographers are examined for the first time. Assessments by leading scholars affirm Marisol’s radical legacy for the 21st century. These exciting reflections are presented alongside full-color reproductions of her works, a robust bibliography, an exhibition history and an illustrated chronology. Marisol (1930–2016) was born Maria Sol Escobar in Paris to a Venezuelan family. She drew continually and from a young age adopted the name Marisol. Like many of the artists who emerged in the early 1950s, Marisol was at first influenced by Abstract Expressionism, but after seeing pre-Columbian art in Mexico and New York, she began making sculpture in 1954, and soon began focusing on the totemic figures for which she is best known.

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Irreverent, heartfelt, shocking and laugh-out-loud funny—a colorful celebration of the work of subversive auteur John Waters Known for pushing the boundaries of good taste, John Waters (born 1946) has created a canon of high-shock-value, high-entertainment movies that have cemented his position as one of the most revered and subversive auteurs in American independent cinema. Featuring misfit muses, tributes to his hometown of Baltimore and themes of fetish, obsession and celebrity culture, his renegade films—including Pink Flamingos (1972), Female Trouble (1974), Desperate Living (1977), Hairspray (1988), Serial Mom (1994) and A Dirty Shame (2004)—are irreverent, laugh-out-loud comedies that lovingly draw inspiration from William Castle, Herschell Gordon Lewis, Russ Meyer, Andy Warhol and Pier Paolo Pasolini alike. John Waters: Pope of Trash accompanies a landmark exhibition at the Academy Museum of Motion Pictures, the first dedicated solely to Waters’ films. The book presents costumes, props, handwritten scripts, concept drawings, correspondence, promotional gimmicks, production photography and other original materials from all of the filmmaker’s features and shorts. Spotlighting many of his longtime collaborators, it also features a new interview with Waters and texts by curators Jenny He and Dara Jaffe, film historian Jeanine Basinger, film critic and cultural theorist B. Ruby Rich, and author-writer-producer David Simon that explore how Waters’ movies have redefined the possibilities of independent cinema.

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The most comprehensive survey of Weems’ genre-defying oeuvre yet published One of the most influential American artists working today, Carrie Mae Weems has investigated narratives around family, race, gender, sexism, class and the consequences of power for more than 40 years. Her complex oeuvre—always ahead of its time, and profoundly formative for younger generations of artists—has employed photography (for which she is best known), fabric, text, audio, digital images, installation and video. Writing in the New York Times, Holland Cotter succinctly described Weems as “a superb image maker and a moral force, focused and irrepressible.” This volume, spanning four decades of work, is the most thorough survey yet published. It includes Weems’ earliest series, such as Family Pictures and Stories, for which she photographed her relatives and close friends; the legendary Kitchen Table Series, in which she posed in a domestic setting; and other critically acclaimed works and series such as Ain’t Jokin’, Colored People, From Here I Saw What Happened and I Cried, Not Manet’s Type, The Jefferson Suite, Monuments, Roaming, Museums, Constructing History (A Class Ponders the Future), Slow Fade to Black and the Obama Project, among many others. Contextualizing these pieces are essays by LaCharles Ward and Fred Moten and a chronology by Raul Muñoz. The book also includes a visual essay by Weems that presents a personal selection of her own works from the artist's perspective. The accompanying exhibition is organized by Fundación MAPFRE in collaboration with Fundación Foto Colectania, Barcelona and Württembergischer Kunstverein, Stuttgart, where the exhibition Carrie Mae Weems. The Evidence Of Things Not Seen took place from April 2 through July 10, 2022. Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.

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Artworks from the early 1990s through the present examine the many ways that love is understood, expressed or left unspoken This volume features more than 35 diverse and multigenerational artists, exploring themes that grapple with some of the most firmly rooted concepts of love, including the union of two people and their co-belonging in a shared destiny, the ties that bind family and friends, and loving practice that comes from action, intention and commitment to promote the worth and well-being of community. Artists include: Ghada Amer, Rina Banerjee, Thomas Barger, Patty Chang, Susanna Coffey, James Drake, Keith Edmier and Farrah Fawcett, Alanna Fields, Dara Friedman, Andrea Galvani, General Idea, Jeffrey Gibson, Felix Gonzalez-Torres, Kahlil Robert Irving, Tomashi Jackson, María de los Angeles Rodríguez Jiménez, Rashid Johnson, Gerald Lovell, Rafael Lozano-Hemmer, Kerry James Marshall, Felicita Felli Maynard, Wangechi Mutu, Ebony G. Patterson, Paul Pfeiffer, Magnus Plessen, Gabriel Rico, Dario Robleto, RongRong&inri, Michelle Stuart, Vivian Suter, Jana Vander-Lee, Carrie Mae Weems and Akram Zaatari.

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Thirty-five years of South African artist William Kentridge’s dynamic, cross-genre art, with essays by Ann McCoy, Zakes Mda, and Ed Schad, a conversation between the artist and Walter Murch, and an unpublished lecture by Kentridge. This far-reaching book presents Kentridge’s dynamic art practice, which originates in charcoal drawing and expands into intersections with film, sculpture, opera and theater performances, printmaking and many other mediums. The volume is organized chronologically and thematically, emphasizing Kentridge’s destabilizing of South African and global narratives through openness to uncertainty, the generative power of the artist’s studio and perpetual change, all as conditions for illuminating repressed and silenced voices in historical records. An essay by curator Ed Schad is presented along with studio photography, archival material and illuminating illustrations of Kentridge’s work, joining essays by globally recognized literary figures and thinkers Zakes Mda and Ann McCoy. Notably, the volume features a conversation between Kentridge and the famous film and sound editor Walter Murch, as well as a never-before-published lecture by the artist. The work of William Kentridge (born 1955) has been seen in museums and galleries around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia museum in Madrid, the Kunstmuseum in Basel and Zeitz MOCAA and the Norval Foundation in Cape Town. Opera productions include Mozart’s The Magic Flute, Shostakovich’s The Nose and Alban Berg’s operas Lulu and Wozzeck. In 2016 Kentridge founded the Centre for Less Good Idea in Johannesburg, a space for responsive thinking and making through experimental, collaborative and cross-disciplinary art practices. The center hosts an ongoing program of workshops, public performances and mentorship activities.

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From Pop art and the Pictures Generation to Instagram and branding: how the dialogue between art and advertising has evolved over the decades The world of advertising has changed drastically over the last century. Marketers have shifted from selling physical objects to promoting lifestyles, brands and aspirations. Likewise, contemporary photographers have transformed the way they respond to advertising and the way they manipulate its visual language. This collection of important works by an international cadre of innovative artists traces the dialogue between art and advertising from the 1970s to the present. It offers arresting images from leading conceptual artists such as Chris Burden, Victor Burgin, Sherrie Levine and Richard Prince. We see how DIS, Roe Ethridge, Victoria Fu and Kim Schoen take on contemporary consumer culture, branding and lifestyle creation. Finally, this book looks at how, as artists delve deeper into commercial strategies, advertisers have begun to call upon them to apply their signature styles to media campaigns—and further blur the lines between fine art and consumerism.

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Key paintings and sculptures from Japan's great master of "the superflat" Focusing on one of Murakami’s largest and most important works, In the Land of the Dead, Stepping on the Tail of a Rainbow (2014), this book offers a lavish introduction to the work of one of Japan’s greatest artists. This publication provides a broad overview of Murakami's practice and features 12 works from The Broad's substantial collection of Murakami’s work, including his early sculpture DOB in the Strange Forest (Blue DOB) (1999), Flower Matango (b) (2001–6) and such notable later paintings and drawings as Hustle'n'Punch by Kaikai And Kiki (2009), Of Chinese Lions, Peonies, Skulls, and Fountains (2011) and Tan Tan Bo a.k.a. Gerotan: Scorched by the Blaze in the Purgatory of Knowledge (2018). The main essay by Ed Schad is presented along with studio photography, archival material and illuminating illustrations of Murakami works from around Los Angeles and the world. Notably, the volume features a conversation between Murakami and Ed Schad on making art during times of crisis and in the wake of global events such as the 2011 tsunami in Japan and the global COVID-19 epidemic of 2020 and beyond. Takashi Murakami was born in Tokyo in 1962 and received his BFA, MFA and PhD from the Tokyo National University of Fine Arts and Music. His work has been exhibited in prestigious museums all over the world.

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“Trouvé’s evident investment in tricks of the eye—and of the mind—paint her … as a 21st-century surrealist” –Artforum MAMCO’s collections include the complete set of Italian artist Tatiana Trouvé’s (born 1968) archive of drawings, as well as a room, Prepared Space, painted blindingly white and transected by tiny thread-width gashes seemingly held open by pieces of bronze and wood wedged into the cuts, somewhat resembling the lines on an ancient map. The goal of this volume, which is based around these two bodies of work, is to highlight the importance of drawing in the artist’s work—the way in which it structures both her vision and her sculpture. Each corpus is described in detail, but is also situated within Trouvé’s oeuvre in a comprehensive way, thus opening up various possible readings of her work. This affordable introduction to Trouvé’s oeuvre contains 30 color images of her work and commentary by MAMCO’s curators.

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Rarely seen installation works that exemplify this pioneering artist’s critical focus on Black identity and Black feminism Showcasing a lesser-known aspect of Saar’s art, Betye Saar: Serious Moonlight provides new insights into her explorations of ritual, spirituality and cosmologies, as well as themes of the African diaspora. Featured here are significant installations created by Saar from 1980 to 1998, including Oasis (1984), a work that will be reconfigured at ICA Miami’s Saar exhibition for the first time in more than 30 years. With compelling scholarship and rich illustration—combining new installation photography and archival material—the monograph provides a fresh look at this significant artist’s critical and influential practice. Betye Saar: Serious Moonlight reinforces and celebrates Saar’s standing as a visionary artist, storyteller and mythmaker, and the ongoing significance and relevance of her work to the most pressing issues in America today. Betye Saar (born 1926) is renowned for pioneering Black feminism and West Coast assemblage in her visionary artistic practice, through dense, complexly referential objects. For over six decades, Saar’s work has led dialogues on race and gender, reflecting changing cultural and political contexts. Most recently, solo presentations have been hosted by the Museum of Modern Art, New York, and the Los Angeles County Museum of Art. Saar’s work was prominently featured in We Wanted a Revolution: Black Radical Women, 1965–85 at the Brooklyn Museum, New York, and in Soul of a Nation: Art in the Age of Black Power at Tate Modern, London, which traveled to Crystal Bridges Museum of American Art, Bentonville, Arkansas; Brooklyn Museum; The Broad, Los Angeles; and the M.H. de Young Memorial Museum, Fine Arts Museums of San Francisco.

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A celebratory visual chronicle of the many ways in which Black Americans have used portraiture to envision themselves Spanning over two centuries from around 1800 to the present day, Black American Portraits chronicles the ways in which Black Americans have used portraiture to envision themselves in their own eyes. Remembering Two Centuries of Black American Art, curated by David C. Driskell at LACMA 45 years ago, this book is a companion to the exhibition of the same name that reframes portraiture to center Black American subjects, sitters and spaces. This selection of approximately 140 works from LACMA’s permanent collection highlights emancipation, scenes from the Harlem Renaissance, portraits from the Civil Rights and Black Power eras, multiculturalism of the 1990s and the spirit of Black Lives Matter. Countering a visual culture that often demonizes Blackness and fetishizes the spectacle of Black pain, these images center love, abundance, family, community and exuberance. Black American Portraits depicts Black figures in a range of mediums such as painting, drawing, prints, photography, sculpture, mixed media and time-based media. In addition to work by artists of African descent, Black American Portraits includes several works by artists of other backgrounds who have exemplified a thoughtfulness about, sensitivity toward and commitment to Black artists, communities, histories and subjects. Artists include: Alvin Baltrop, Edward Biberman, Bisa Butler, Jordan Casteel, Njideka Akunyili Crosby, Bruce Davidson, Stan Douglas, rafa esparza, Shepard Fairey, Charles Gaines, Sargent Claude Johnson, Deana Lawson, Kerry James Marshall, Alice Neel, Lorraine O'Grady, Catherine Opie, Amy Sherald, Ming Smith, Henry Taylor, Tourmaline, Mickalene Thomas, James Van Der Zee, Carrie Mae Weems, Charles White, Kehinde Wiley and Deborah Willis.

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The most comprehensive publication to date on Sarah Cain’s exuberant paintings and installations Los Angeles-based painter Sarah Cain (born 1979) works on canvases of all sizes, often modifying them by cutting and braiding, painting on all sides and installing the canvas with the back of the painting facing the viewer. She also paints on other surfaces, including interior and exterior walls, floors, furniture and dollar bills. Cain's process often involves altering and disfiguring a composition until the original image is no longer recognizable. Her process of creation and destruction frequently includes found objects and is steeped in the history of painting and feminist art practices. Cain's work is a challenge to the patriarchal hierarchies of painting. "Almost everything about Cain's paintings—their speed, their brashness, their noodling compositions, their splashes and spray-painted scribbles, their tacky accouterments, their sense of absurdity—seems to undermine the gravitas that large-scale painting traditionally projects," wrote Jonathan Griffin, in the New York Times. Sarah Cain: Enter the Center features new writings and previously unpublished photographs and documentation of dozens of artworks with a focus on the last decade of Cain's exuberant and unique paintings and installations.

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Wonder and wit meet in Templeton's unflinching photographs Tangentially Parenthetical is a selection of photographs from Ed Templeton's vast street photography archive—curated, arranged and then rearranged by the man himself. The next chapter to his previous book of photos (Wayward Cognitions, 2014), Tangentially Parenthetical picks up where the latter collection ended. By combining intimate, accidental and unconnected moments into one linear piece of work, he tells hundreds of new stories through the thoughtful arrangement of semi-related yet completely unfastened imagery. "I'm out there shooting photos all the time that don't necessarily fall under any theme other than general life," says Templeton, "which is a lame title for a book." With a wink to the absurd, sandwiched between a cover of patterned parentheses and with an afterword built from his own stream-of-consciousness storytelling, Templeton delivers a visual mountain from an archive of stunning molehills—the images are carefully chosen, shuffled by hand and laid out with the dueling impulses of wonder and wit. Born in 1972 and raised in the suburbs of Orange County, California, Ed Templeton is a painter, photographer and a respected cult figure in the subculture of skateboarding. His work has been exhibited worldwide.

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How photographers from Nan Goldin to Leigh Ledare have portrayed intimacy and eros between themselves and their subjects Love Songs brings together series dating from 1952 to 2022 by established and emerging contemporary photographers that explore love, desire and intimacy in all their complex and contradictory ways. Among the major series reproduced here are Nan Goldin’s seminal 1986 photobook The Ballad of Sexual Dependency; Nobuyoshi Araki’s Sentimental Journey (1969) and Winter Journey (1989–90), which present the beginning and end of the relationship with his wife Yoko, from their honeymoon to her death; RongRong&inri’s tender and poetical Polaroid series Personal Letters (2000); and Leigh Ledare’s Double Bind (2010), a complex account of a love triangle between himself, his ex-wife and her new husband. These and the other series in Love Songs together make a portrait of love in all its risk, complexity, sensuality and tenderness. Photographers include: Nobuyoshi Araki, Motoyuki Daifu, Nan Goldin, Emmet Gowin, René Groebli, Hervé Guibert, Sheree Hovsepian, Clifford Prince King, Leigh Ledare, Lin Zhipeng, Sally Mann, RongRong&inri, Collier Schorr, Hideka Tonomura and Karla Hiraldo Voleau.

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A lavishly illustrated tour of the methods, process and sources behind the iconic pop artworks of KAWSAmerican artist KAWS is one of the most famous living contemporary artists today. Renowned for his iconic visual language and larger-than-life sculptures, the artist draws on beloved pop culture icons to create a new and recognizable cast of characters of his own. The broad appeal of KAWS' style has made his artwork accessible to collectors, museum visitors and the general public alike, and has led to collaborations with coveted global brands and immense commercial success.KAWS: FAMILY, organized by the Art Gallery of Ontario, Toronto, marks the artist's Canadian institutional exhibition debut with an array of his drawings, paintings, sculptures and selected products. The catalog features over 60 works from the past two decades, including installation photography; essays by Julian Cox, AGO Deputy Director and Chief Curator; and an interview with KA

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The spirit of feasting in Islamic lands as seen in art and material culture This catalog represents the first occasion that the burgeoning knowledge of food culture in this period has been employed to inform our understanding of Islamic art. Dining with the Sultan offers a pan-Islamic reach, spanning the 8th through 19th centuries and including some 200 works of art representing a rich variety of mediums. Across its 400 pages, and through an abundance of color plates and new scholarship, the publication introduces audiences to Islamic art and culture with objects of undisputed quality and appeal. Viewed through the universal lens of fine dining, this transformative selection of materials emphasizes our shared humanity rather than our singular histories.

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The sixth iteration of the Los Angeles biennial, highlighting themes of the vernacular, the urban, the performative and the collective Taking its cues from the ethos of the city and situating art as an expanded field of culture that is entangled with the everyday, community networks, queer affect and indigenous and diasporic histories, Made in L.A. 2023 proposes a network of artistic affinities through intergenerational constellations. These artists suggest art can be an act of preservation and memorialization as well as a space for playfulness, satire and sheer wildness. Artists include: Marcel Alcalá, Michael Alvarez, AMBOS, Jackie Amézquita, Teresa Baker, Luis Bermudez, Sula Bermúdez-Silverman, Jibz Cameron, Melissa Cody, Emmanuel Louisnord Desir, Victor Estrada, Nancy Evans, Jessie Homer French, Pippa Garner, Ishi Glinsky, Vincent Enrique Hernandez, Dan Herschlein, Akinsanya Kambon, Kyle Kilty, Young Joon Kwak, Kang Seung Lee, Tidawhitney Lek, Los Angeles Contemporary Archive, Maria Maea, Erica Mahinay, Mas Exitos, Dominique Moody, Paige Jiyoung Moon, Esteban Ramón Pérez, Page Person, Roksana Pirouzmand, Ryan Preciado, Devin Reynolds, Miller Robinson, Guadalupe Rosales, Christopher Suarez, Joey Terrill, Chiffon Thomas, Teresa Tolliver.

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Three decades of the beloved Japanese artist’s paintings, drawings, sculptures and more Yoshitomo Nara is among the most beloved Japanese artists of his generation. His widely recognizable portraits of menacing figures reflect the artist’s raw encounters with his inner self. Nara’s oeuvre takes inspiration from a wide range of resources—memories of his childhood, music, literature, studying and living in Germany (1988–2000), exploring his roots in Japan, Sakhalin and Asia, and modern art from Europe and Japan. Spanning 35 years (1985 to 2020), this book—which accompanies the major career retrospective organized by the Los Angeles County Museum of Art—presents the full range of Nara’s work. It also examines the artist’s work through the lens of his longtime passion—music—and features “liner notes” written by the artist about various albums in his personal collection of 1960s and 70s folk and rock albums, published in English for the first time. The book features paintings, drawings, sculpture, ceramic figures, an installation that re-creates his drawing studio, and never-before-exhibited idea sketches that reflect the artist’s empathic eye, shining a light on Nara’s conceptual process. Readers will see the evolution of a dynamic artist who has become more contemplative with age. Yoshitomo Nara was born in 1959 in Aomori, Japan, and graduated with a master's degree from Aichi Prefectural University of Fine Arts and Music and later studied at Kunstakademie Düsseldorf. In the fall of 2010, the Asia Society in New York presented the first major New York exhibition of his work. He is represented by Pace Gallery and Blum & Poe.

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An epic exploration of the artist internationally renowned for his unique gunpowder art This is the first publication to synthesize the fundamental concepts and methodological pursuits behind the art of Cai Guo-Qiang (born 1957), since his 2008 Guggenheim retrospective exhibition catalog I Want to Believe. Introduced through a comprehensive map and chronology and encompassing the visual and textual records from over three decades of Cai Guo-Qiang’s career, this book showcases the work of an artist renowned for his unique gunpowder art through his Individual’s Journey Through Western Art History. In a series of exhibitions at major museums and cultural sites around the world, including the Prado Museum, Uffizi Galleries, Pushkin State Museum of Fine Arts, National Archaeological Museum of Naples and Pompeii Archaeological Park, and Solomon R. Guggenheim Museum, Cai has engaged in dialogues with periods of Western art history as presented by the institutions. The series also retraces Cai’s expansive journey of homecoming through dialogues with his original passion for painting, the spirit of Chinese culture and his eternal home in the Cosmos. This publication presents the culmination of Cai's Journey with the exhibition Odyssey and Homecoming at the Palace Museum, the first ever by a contemporary artist, coinciding with the 600th anniversary of the Forbidden City.

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Originally published in 1975, reprinted in 2005 and out of print for many years, this collection of Donald Judd’s writings is now a sought after classic. His uncompromising reviews avoid the familiar generalizations so often associated with artistic styles emerging during the 1950s and 60s. Here, Judd discusses in detail the work of more than 500 artists showing in New York at that time, and provides a critical account of this significant era in American art. While addressing the social and political ramifications of art production, the writings focus on the work of Jackson Pollock, Kazimir Malevich, Barnett Newman, Ad Reinhardt, John Chamberlain, Larry Poons, Kenneth Noland and Claes Oldenburg. His classic 1965 ‘Specific Objects’ essay, a discussion of sculptural thought in the 1960s, is included alongside the notorious polemical essay ‘Imperialism, Nationalism, Regionalism’ and much else.

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This volume will be the first monograph on the work of Chicago-based artist William J. O'Brien (born 1975), produced to accompany his first large-scale, solo exhibition opening at the Museum of Contemporary Art Chicago in January 2014. The show demonstrates the broad range of O'Brien's work--from sculpture and ceramics to drawing, textiles and painting--and his guiding interest in physicality and the handmade. The catalogue expands the dominant narratives around his practice, which generally focus on his ceramics, to more accurately reflect his diverse, prolific practice as a whole. Exhibition curator Naomi Beckwith and contributing author and curator Trevor Smith contextualize the artist's work in light of recent modes in contemporary art history--l'informe, the handmade and semiotic play. Critic Jason Foumberg contributes a creative text inspired by the artist's working process. Together, the contributing essays make a strong contextual case for O'Brien's work that counters canonical

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After years at the tippy-top of the fashion world—modelling haute couture and starring in ad campaigns for the most exclusive fashion houses—GingerNutz, the naïve Bornean orangutan turned fashion’s darling, is itching for a new adventure. In GingerNutz in Full Bloom: From Supermodel Orangutan to Style Icon and Beyond, our fashionable heroine segues from being the Vogue cover girl to the one who decides what the cover girl will wear and how she will wear it. As Vogue’s first orangutan fashion stylist, she selects from the most delectable garments and travels the world to direct the edgiest fashion shoots with top photographers. But this jet-set lifestyle, even with luxuries like suites at the Ritz and room service banana-beetle smoothies, begins to wear on her. GingerNutz decides that she absolutely must find a suitable country cottage to which she can retire and pursue proper English pastimes like gardening and tending to a menagerie of farm animals (with whom she feels quite at home). Before she settles into obscurity, though, she will enjoy one last flourish of the royal treatment...

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From early cinema to the digital era, Color in Motion explores the vibrant history of color on screenThe art of producing color in movies is a fascinating process with a long history. Many people don't realize that, as early as the 1890s, much of silent cinema was in color. They also may not know that women were the main workforce behind the techniques that first produced these effects, a tradition that continued as the practice evolved. Breakthroughs in color technology have created ongoing opportunities for filmmakers to experiment with new forms of narrative and emotional storytelling. Spectacular, psychological and sensory, color has become an integral part of the cinematic experience.From the earliest hand-painted films to Technicolor and today's digital cinema, Color in Motion takes readers on a journey through the evolution and significance of color in film. Presenting insightful analysis, engaging case studies and inspiring conversat

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Portrayals of James Baldwin and others in his circle highlight the iconic writer's activismThe American writer and activist James Baldwin (192487) considered himself a witness as he challenged perspectives on America and its history through his work. He was often recognized for speaking out against injustice when other like-minded artists, collaborators and organizers were overshadowed or silenced. By bringing together artworks that feature James Baldwin alongside portraits of other key figures who had an impact on his life, This Morning, This Evening, So Soon situates Baldwin among a pantheon of culture bearers who were instrumental in shaping his life and legacy, particularly in relationship to his advocacy for gay rights. The book accompanies an exhibition at the National Portrait Gallery in Washington, DC, curated by the National Portrait Gallery''s Director of Curatorial Affairs, Rhea L. Combs, in consultation with Pulitzer Prizewinning author Hil

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Lafayette Park, a middle-class residential area in downtown Detroit, is home to the largest collection of buildings designed by Ludwig Mies van der Rohe in the world. Throughout the 1990s and 2000s, it remained one of Detroit's most racially integrated and economically stable neighbourhoods, although it was surrounded by evidence of a city in financial distress. Through interviews with and essays by residents, reproductions of archival material: new photographs by Karin Jobst, Vasco Roma and Corine Vermeulen, and previously unpublished photographs by documentary filmmaker Janine Debanné, Thanks for the View, Mr. Mies examines the way that Lafayette Park residents confront and interact with this unique modernist environment. This book is a reaction against the way that iconic modernist architecture is often represented. Whereas other writers may focus on the design intentions of the architect, authors Aubert, Cavar and Chandani seek to show the organic and idiosyncratic ways in which the people who live in Lafayette Park actually use the architecture and how this experience, in turn, affects their everyday lives. Thanks for the View, Mr. Mies was originally published in 2012, two years before the city of Detroit entered into the largest municipal bankruptcy in the country. The 2019 edition of Thanks for the View, Mr. Mies includes a revised introduction and two new texts by Lafayette Park residents, and authors, Marsha Music and Matthew Piper. Music and Piper reflect on the changes the neighbourhood underwent between 2012 and 2018, when the city went through and emerged from bankruptcy and entered into a new phase, as a desirable place for real estate investment.

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Los Angeles is a city of dualities – sunshine and noir, coastline beaches and urban grit, natural beauty and suburban sprawl, the obvious and the hidden. Both Sides of Sunset: Photographing Los Angeles reveals these dualities and more, in images captured by master photographers such as Bruce Davidson, Lee Friedlander, Daido Moriyama, Julius Shulman and Garry Winogrand, as well as many younger artists, among them Matthew Brandt, Katy Grannan, Alex Israel, Lise Sarfati and Ed Templeton, just to name a few. Taken together, these individual views by more than 130 artists form a collective vision of a place where myth and reality are often indistinguishable. Spinning off the highly acclaimed Looking at Los Angeles (Metropolis Books, 2005), Both Sides of Sunset presents an updated and equally unromantic vision of this beloved and scorned metropolis. In the years since the first book was published, the artistic landscape of Los Angeles has flourished and evolved. The extraordinary Getty Museum project Pacific Standard Time: Art in L.A. 1945–1980 focused global attention on the city’s artistic heritage, and this interest has only continued to grow. Both Sides of Sunset showcases many of the artists featured in the original book – such as Lewis Baltz, Catherine Opie, Stephen Shore and James Welling – but also incorporates new images that portray a city that is at once unhinged and driven by irrepressible exuberance.

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A comprehensive examination of the Swiss artist’s colorful homage to Oldenberg’s soft sculpture installations Swiss mixed-media artist Sylvie Fleury (born 1961) has long been interested in depicting the juncture of materialism and materiality in contemporary consumer culture. Her 1998 installation Bedroom Ensemble II draws directly from soft sculpture artist Claes Oldenberg, who also created bedroom installations under the same title; through inconsistent scale and unusual textures, Oldenberg’s bedroom suggests a disconnect from reality that becomes more apparent the longer one studies the piece. Fleury’s piece amplifies and subverts such ideas with her own vocabulary of textures and colors. While Oldenberg’s bedroom is a particularly cold example of 1960s interior design, Fleury’s piece bursts with vitality, practically begging viewers to touch the colorful faux fur that covers every stick of furniture in the installation. This book is the first comprehensive study of Bedroom Ensemble II and its relationship to the other Fleury pieces in MAMCO Geneva’s collection.

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Early works, regional projects and acclaimed series from Allan McCollum, whose work often blurs boundaries between unique artifacts and mass production Since the late 1960s, the American artist Allan McCollum (born 1944) has created works that examine the art object’s relationship to uniqueness, context and value, as well as to the museum that collects, values and preserves it. Allan McCollum: Works since 1969, which accompanies a major survey of the artist's work, brings together new scholarship, documentary material and in-depth information on McCollum’s decades-long career, adding to the broader historical and theoretical interpretation of the artist’s important practice. McCollum’s celebrated works can be interpreted in infinite ways and have significant impact on the understanding of the role of art and material culture in society. Throughout his career the artist has explored various economies and contexts that structure collections and presentations of objects. Interested in how material artifacts become charged with meaning, McCollum understands these objects as vehicles of self-assurance and self-representation within communities. This book traces the artist’s career through numerous illustrations, supplementary material and texts, focusing on three key components—early work, “regional projects” and the artist’s most iconic series.

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