Hughes’s heart-warming description of Harlem in the late 1940s and early 1950s is seen through the eyes of one grandmother, Sister Mary Bradley. As she guides the reader through the lives of those around her, we imagine the babies born, families in struggle, children yet flourishing. We experience the sights and sounds of Harlem as seen through her learned and worldly eyes, expressed here through Hughes’s poetic prose. As she states, “I done got my feet caught in the sweet flypaper of life and I’ll be dogged if I want to get loose.” DeCarava’s photographs lay open a world of sense and feeling that begins with his perception and vision. The ruminations go beyond the limit of simple observation and contend with deeper meanings to reveal these individuals as subjects worthy of art. While Hughes states “We’ve had so many books about how bad life is, maybe it’s time to have one showing how good it is,” the photographs bring us back to this lively dialogue and a complex reality, to a resolution that stands with the optimism of the photographic medium and the certainty of DeCarava’s artistic moment.

In 1952 DeCarava became the first African American photographer to win a John Simon Guggenheim Memorial Fellowship. The one-year grant enabled DeCarava to focus full time on the photography he had been creating since the mid-1940s and to complete a project that would eventually result in The Sweet Flypaper of Life, a moving, photo-poetic work in the urban setting of Harlem. DeCarava compiled a set of images from which Hughes chose 141 and adeptly supplied a fictive narration, reflecting on life in that city-within-a-city. First published in 1955, the book, widely considered a classic of photographic visual literature, was reprinted by public demand several times. This fourth printing, the Heritage Edition, is the first authorized English-language edition since 1983 and includes an afterword by Sherry Turner DeCarava tracing the history and ongoing importance of this book.

Tom Friedman (b. 1965, Saint Louis, MO) makes work that explores ideas of perception, logic, and possibility. His often painstakingly rendered sculptures and works on paper inhabit the grey areas between the ordinary and the monstrous, the infinitesimal and the infinite, the rational and the uncanny. His work is deceptive, its handmade intricacy masked by a seemingly mass-produced or prefabricated appearance. Luhring Augustine 2012 11.25 x 9.75 inches, 272 pages, illustrations Hardcover, ISBN 978-0-9771150-6-8

The Outlands, a series of photographs taken by Eggleston between 1969 and 1974, establishes the groundbreaking visual themes and lexicon that the artist would continue to develop for decades to come. The work offers a journey through the mythic and evolving American South, seen through the artist’s lens: vibrant colors and a profound sense of nostalgia echo throughout Eggleston’s breathtaking oeuvre. His motifs of signage, cars, and roadside scenes create an iconography of American vistas that inspired a generation of photographers. With its in-depth selection of unforgettable images—a wood-paneled station wagon, doors flung open, parked in an expansive rural setting; the artist’s grandmother in the moody interior of their family’s Sumner, Mississippi home—The Outlands is emblematic of Eggleston’s dynamic, experimental practice. The breadth of work reenergizes his iconic landscapes and forms a new perspective of the American South in transition.

Accompanying the ninety brilliant Kodachrome images and details, a literary, fictional text by the critically acclaimed author Rachel Kushner imagines a story of hitchhikers trekking through the Deep South. New scholarship by Robert Slifkin reframes the art-historical significance of Eggleston’s oeuvre, proposing affinities with work by Marcel Duchamp, Dan Graham, Jasper Johns, and Robert Smithson. A foreword by William Eggleston III offers important insights into the process of selecting and sequencing this series of images.

This catalog was published as a companion to his 2005 Luhring Augustine exhibition, Yasumasa Morimura: Los Nuevos Capricios. It details a group of photographs based on the artwork of the Spanish Master Francisco José de Goya y Lucientes.

The understated design of this book allows the quiet elegance of Wes Mills’ drawings to captivate viewers. High quality reproductions of forty-eight drawings made between 1994 and 2003 float in the center of muted white pages. The titles and dates of each piece, printed in a warm transparent gray, manage to both pick up some of the delicate tonalities in the drawings and to disappear altogether. A complete index of the drawings is included at the back and essays by Hipólito Rafael Chacón and Ann Wilson Lloyd discuss the work’s aesthetic and art historical significance. Mills’ marks require a fine sustained attention, the kind of attention that this exquisitely made monograph can’t help but cultivate in a reader.

The photographs featured in Viscidity by Boris Mikhailov were completed and sequenced in Kharkov in 1982 but only now published as a book. Reproduced at their original scale, we have added translations from the Russian to English. In addition, the book features “I was walking through a field,” an original bilingual essay by Mikhailov illuminating the history of the work and written specially for this edition.

One of three early and critical image-text works, Viscidity was completed after Horizontal Pictures and Vertical Calendars (1978-1980) and shortly before Unfinished Dissertation (1984). As Mikhailov states: “At first the texts tautologically repeated what was visible in the image, as though they were simply drawing attention to the photograph (the first book)… gradually the texts changed and became poetic and deeper (the second book)… then I added quotations in addition to my own reflections on photography (the third book).”

Viscidity was produced during a time of “deep political stagnation. Nothing is happening — nothing at all is interesting … There was a kind of certainty that society was at the threshold of something unknown, something everyone was anticipating. Many people felt this way.”

Mikhailov is best known for provocative self-portraits and politically charged color photographs, from the earliest works in Red Series (1968–75) to the gut wrenching yet seductive images of the homeless in the Soviet Union, published in Case Studies (Scalo, 1999). A prolific and experimental artist, Mikhailov’s work rests naturally beside the most respected conceptual artists of his generation. Photographs from Viscidity have been exhibited widely throughout his career, most importantly in 2004 in the critically acclaimed exhibition and accompanying catalogue at the Serralves Museum in Portugal by Margarita and Victor Tupitsyn, Verbal Photography: Ilya Kabakov and Boris Mikhailov and the Moscow Archive of New Art.

Known for his large scale paintings and photographs, renowned artist Chuck Close interviews 27 artists whose portraits he has painted over the years. This volume brings together the voices of three generations of American artists, including conversations between Close and artists Nancy Graves, Richard Serra, Philip Glass, Joe Zucker, Robert Israel, Leslie Close, Klaus Kertess, Mark Greenwold, Georgia Close, Arne Glimcher, Lucas Samaras, Alex Katz, Cindy Sherman, Elizabeth Murray, Judy Pfaff, Eric Fischl, April Gornik, William Wegman, Janet Fish, John Chamberlain, Richard Artschwager, Joel Shapiro, Kiki Smith, Roy Lichtenstein, Dorothea Rockburne, Lorna Simpson, Paul Cadmus.

A catalog produced for the 2008 exhibition Animals by Tom Sachs. In ANIMALS, Sachs continues to explore his signature appropriation of popular consumer objects, iconography, and signage. Logos, such as Spyderco, Bösendorfer, and Raytheon, along with images of the U.S. dollar bill, are boldly inserted into his paintings and sculptures. In Assaulting (2007), a punitive warning is transformed into a formal composition. Also on view are a number of white foamcore 'paintings' reconstituted from smashed models of the popular animated characters Hello Kitty, Miffy, and My Melody. In discussing his work ethic with critic, Germano Celant, Sachs says: '…I often build things in the 'wrong' way. […] There is an honesty and a soulfulness to doing it yourself.' Design by Tom Sachs with glossary by Mark van de Walle. Sperone Westwater, 2008

Published on the occasion of the Focus Series exhibition Todo Cambia, The Museum of Contemporary Art, Los Angeles, October 5, 1997 – February 8, 1998.

Commissioned from the young Cuban artist Kcho, this large-scale installation (the title of which translates as "Everything Changes") had two components: a grouping of sculptures, including a barrel, a raft, an oar, a kayak, a surfboard and a small boat, resting on small tables formerly used in studio art classes at the Superior Institute of the Arts in Havana, and a room-size boat constructed from bookshelves found in open-air book markets throughout Havana, with shelves filled by the types of books that Cuban citizens read.

Co-published with Second Aeon Publications, Typewriter Poems gathers together twenty-two practitioners of the art of the typewriter poem–which relies on the limitations imposed by the machine to produce its form–in this slim volume of experimental letters. Featuring the work of British poets Thomas A. Clark, Bob Cobbing, Michael Gibbs, and many others.

Luke Abiol's project Winters Berlin is a series of large format photographs made over a period of seven years while living in Germany. These photographs look into the history that saturates Berlin's structures and streets.

Abiol is particularly interested in the layers of the city that - when peeled away - introduce the viewer to countless traces of Berlin's inhabitants. Stories are derived from space and histories are formed.

Luke Abiol was born in San Francisco, came of age in New York, started a family in Berlin and now finds himself back in San Francisco. Luke observes the traces that industry, war, nature and time have left upon our urban spaces–then leaves his own traces to be read by others.

Issued in conjunction with an exhibition on the theme. Catalogue lists 89 works by 20 Los Angeles artists. Includes a five-page introduction by Barry Heisler, a 30-page essay by Paul Karlstrom, "Modernism in Southern California, 1920-1956, Reflections on the Art and the Times", and biographical essays on each of the artists by Susan Ehrlich. Wonderful color illustrations.

The artist Thomas Schütte, born 1954 in Oldenburg and Gerhard Richter’s student at the Dusseldorf Art Academy from 1973 to 1981, is a moralist who uses his work to posit questions and trigger uncertainty. At the same time, however, he is also a romantic and a melancholiac who, with black humor and skepticism, creates a model of the world. In this publication, which goes back to the three-part, 18-month-long show at the Dia Center for the Arts in New York, in chronological sequence the works of the last two decades are documented. “Scenewright” the first installation In New York from September 1998 to January 1999, showed, among other things, the 1977 installation Grosse Mauer (large wall), as well as the work groups of the 80s that thematized views of public buildings and imaginary places, as well as theater stage sets. “Gloria in Memoria” from February to June 1999 studied the theme of the monument and the anti-hero (Mohr’s Life, 1988) from the drawings to the installation. The third exhibition “In Medias Res” from September 1999 to June 2000 concentrated on the monumental sculptures of steel – female figures and self-portraits – and of ceramic: among others, oversized urns, monumental portraits of the gallerist Konrad Fischer, nine life-size clay figures in colorful robes Die Fremden (The Strangers) from 1992.

This is a catalog of exhibition, The Three Prophets: Stanley Fisher, Sam Goodman and Boris Lurie. The exhibition will present work by the three founders of the NO!art movement. This will be the first exhibition in Los Angeles to include these three revolutionary artists together, with the majority of this work never having been shown in LA. The NO!art movement was founded in 1959 in New York City by Fisher, Goodman and Lurie as a reaction to the commercialization of the art market that was just picking up steam in relationship to Abstract Expressionism and Pop Art. Looking through the work of these three men, one is also impressed with their ability to express the pain and struggle of their lives. The approximate dates of the movement are 1959-1964. There were many artists involved with NO!, including John Fischer, Al D’Arcangelo, Gloria Graves, Wolf Vostell, Yayoi Kusama, Lil Piccard, Dorothy Gillepsie, Guenter Brus, Ferro, and Isser Aranovici (to name a few).

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

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

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

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

Published to accompany an exhibition at The Aldrich Contemporary Art Museum in 2012, this book focuses on Wendell Castle’s exceptional early works in wood and fiberglass, which transformed the way we look at furniture making.

American studio furniture icon Wendell Castle is one of the most important, influential, and celebrated designers of the twentieth and twenty-first centuries. For more than 50 years, he consistently pioneered new territory in design and beyond. His visionary constructions and distinctive stacked-laminate woodworking process cross the boundaries between sculpture, design, and craft. These highly original works have influenced generations of furniture makers, designers, artists, sculptors, collectors, and design enthusiasts.

Renowned writer Alastair Gordon lucidly tells the exciting story of Castle’s impact and innovations through the defining works of his career. The text is accompanied by hundreds of drawings, press clippings, and never-before-seen images of Castle, his workspace, and process. Beautifully designed by award-winning Pandiscio Green and incorporating materials from Castle’s personal archives, this book is the definitive study of one of the most significant furniture designers working in the world today and one of America’s true cultural treasures.

Haunting and strangely provocative new installations by artist Gary Hill, celebrated worldwide in major museums and galleries, are introduced through a highly readable essay by two of the artist's long-time poet/artist collaborators. In a sort of lineup, seventeen day-workers, full-size, stare at you from the wall, eerily present by the magic of video-projection (Viewer). A solitary Native American stares you in the eyes, while he stares at himself from an adjacent wall-then the projections switch position: the watcher becomes the watched and the watched becomes the watcher (Standing Apart). This third in an ongoing series of the Quasha & Stein dialogue on Gary Hill is beautifully illustrated in full color to give a living sense of the actual installations.

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

A 20-page newspaper published to coincide with the 2001 exhibition. Formatted after the pages of the New York Times, The New Yokoo Times is a spoof on current affairs seen through the filter of an altered consciousness, with a distinct absurdist bent. In one collage titled “Who Cares” featured on the Editorials/Letters page, we view an image of a seascape. Large in the foreground is a group of 19th-century Japanese women lounging in striped swimming suits, adrift in a boat. Behind (and heading straight for them) is a group of American tourists in leisure wear, packed into a speedboat on a fishing expedition. And in the distance, yet a third vessel, an antique clipper is speeding across the frame through shark-infested waters towards a swimmer dashing by as if in a race. The headlines read: “Managing the Yokoo Incident,” “The Battle Over Money in Heaven,” “Gravel Sushi,” and “A Time of Testing.” The texts are appropriated from the New York Times and various Japanese tabloids.

This publication accompanies the exhibition Unfurled: Supports/Surfaces 1966-1976 at the Museum of Contemporary Art Detroit in 2019.

The French art movement, Supports/Surfaces produced artwork marked by an interest in materiality, a lyrical use of color, and expansive ideas of what constitutes a painting. French society was undergoing social protests and upheavals in the 1960s that mirrored the civil rights and anti-war movements in the USA. The Supports/Surfaces artists sought new forms and methods to reflect their times: standard art materials were dropped in favor of homespun non-art materials (bed sheets, rope, dish rags) and figuration was replaced by loose, permeable grids that hinted at a more democratic method of art-making and a proposal for humane
society. Although working abstractly, these artists shared a deeply political approach to making and showing art.

Since 2001, Swedish-born artist Nathalie Djurberg (born 1978) has honed a distinctive style of video animation. Set to music and sound effects by her collaborator Hans Berg, Djurberg's handcrafted cinematic tales explore revenge, lust, submission, gluttony and other primal emotions through the conventionally innocent technique of “Claymation,” which in her hands becomes a medium for nightmarish yet wry allegories of human behavior and social taboo. Increasingly, Djurberg's practice has blurred the cinematic and the sculptural in environments that integrate moving images and related set pieces. This publication accompanies the artist's largest presentation in an American museum to date. The catalogue weaves documentation of her sculptures and stills from her recent films with texts (both original and found) that trace the historical, scientific and literary threads running through her practice.

Lexicon is a facsimile cloth edition of an antiquarian Latin-Greek dictionary which the internationally celebrated South African artist William Kentridge (born 1954) has embellished with black ink drawings of what might seem at first to be animal silhouettes. In reproducing the work (which is uncollected elsewhere), this beautifully designed artist's book mischievously pits the model of the flipbook against the fragility of the antiquarian original, and flipping its pages animates Kentridge's lively, spiky drawings into a continuously morphing image that transforms from a cat to a coffee pot over the course of the book's 160 pages. This image is based on a disintegrating sculpture that reflects the artist's interest in the instability of objecthood. Lexiconis accompanied by a DVD containing a short film in which Kentridge flips the pages himself.

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

In The Institute for Other Intelligences, Mashinka Firunts Hakopian brings speculative fiction and media studies to bear on an imagined future where machine intelligences convene annually for curriculum on algorithmic equity. The book presents a transcript from one of these conferences in which a community of "AI agents" gather at a school for oppositional automata to deliver lectures on the human biases and omissions encoded in their training data. The resulting manuscript, published on the occasion of the Institute's millennial anniversary, revisits sociotechnical systems from its founding in the 21st century. Drawing on feminist, queer, and critical media scholarship, the trainings collected in the book aim to optimize the operations of future generations of intelligent machines toward just outcomes. Hakopian uses these speculative exchanges to invite the reader to consider how critical approaches to nonhuman intelligence might reroute our current path toward destructive technofutures and allow us to conceive of another way forward.

Edited by Ana Iwataki and Anuradha Vikram for X Topics, The Institute for Other Intelligences includes an introduction by Vikram and diagrammatic illustrations by Fernando Diaz, a scientist whose work focuses on the quantitative evaluation and algorithmic design of information access systems.

This is a catalog published alongside exhibition Yasumasa Morimura: Las Meninas Renacen de Noche (Las Meninas Reborn in the Night) at Luhring Augustine in 2014.

Morimura has been working as a conceptual photographer and filmmaker for more than three decades. Through extensive use of props, costumes, makeup, and digital manipulation, the artist masterfully transforms himself into recognizable subjects, often from the Western cultural canon. Morimura has based works on seminal paintings by Frida Kahlo, Vincent Van Gogh, and Édouard Manet, and he also uses images culled from historical materials, mass media, and popular culture in his practice. His reinvention of iconic photographs and art historical masterpieces challenges the viewer’s common associations with the subjects while also commenting on Japan’s complex relationship with and absorption of Western culture.

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

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

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

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

Introducing English-speaking readers to one of the most unusual and original voices in contemporary French culture, The Stampographer traverses the fantastic, anarchic imagination of Parisian artist Vincent Sardon, whose dark, combative sense of humor is infused with Dadaist subversion and Pataphysical play. Using rubber stamps he designs and manufactures himself, Sardon commandeers a medium often associated with petty and idiotic displays of bureaucratic power, then uses those stamps not to assert authority, but to refuse it. He scours the Parisian landscape as well as the world at large, skewering the power-hungry and the pretentious, reveling in the vulgar and profane. In The Stampographer, there are insults in multiple languages, strange Christmas ornaments, and a miniature Kamasutra. Sardon also wields the stamp as satirical device, deconstructing Warhol portraits into primary colors, turning ink blots into Pollock paint drips, and clarifying just what Yves Klein did with women’s bodies. Yet Sardon’s razor-sharp wit is tinged with the irony of his exquisite sense of beauty. The stamps are rarely static—they have an animating magic, whether boxers are punching faces out of place or dragonflies seemingly hover over the page. Sardon’s work is provocative in its subject matter as well as in its process and dissemination: he not only stands defiantly outside the art world’s modes of commerce but his artworks (the rubber stamps themselves) are actually the means with which anyone can make a work of their own. Vincent Sardon is a radically independent artist in Paris who makes and sells his work in a little shop and studio near the Père Lachaise cemetery in the eleventh arrondissment. He began his career as political cartoonist for the left-wing Libération then, disillusioned, he set out on his own to make rubber stamps, of which he’s now made hundreds. He has an ardent cult following in France following the illustrious comic book press L’Association publication of Le Tampographe, a four-year journal narrating his artistic life and work, which is now in its third printing.

Likely the last play written entirely by Shakespeare, The Tempest brings together various themes the Bard explored in his prior plays, including magic, revenge and forgiveness, order and society, and nature versus art. The shipwreck and remote island, the spirits, and the dukes and their children offer rich material for Wylie’s works on paper and canvas.

As the third title in David Zwirner Books’s Seeing Shakespeare series, this book pairs a complex narrative with equally layered works by a contemporary artist who approaches the play and art making from a unique perspective. Also included is an introduction by the writer Katie Kitamura.

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

The Spectacular of Vernacular addresses the role of vernacular forms in the work of 26 artists who utilize craft, folklore and roadside kitsch to explore the role of culturally specific iconography in the increasingly global world of art. Drawing inspiration from such sources as local architecture, amateur photographs and state fair banners, their work runs the spectrum from the sleek to the handcrafted. Inspired by Mike Kelley's observation that the mass culture of today is the folk art of tomorrow, these artists embrace the totems and neon signs of roadside America. Thus, alongside the visibly handcrafted works of Matthew Day Jackson and Dario Robleto we find the dense and day-glo paintings of Lari Pittman, the glittering trophy heads of Marc Swanson and the urban relics of Rachel Harrison. These works and others suggest a long road trip through the emblems and eyesores of tourist destinations and outmoded hotels. The photography component includes work by William Eggleston, whose color-saturated images gravitate toward the tawdry palette of faded billboards and road signs.

This fully-illustrated catalogue includes an essay by exhibition curator Darsie Alexander exploring artists' interest in the vernacular as a means to address aspects of folk ritual, amateur craft and sense of place in their work; a reprint of John Brinckerhoff Jackson's Vernacular from his seminal 1984 reader Discovering the Vernacular Landscape; and a reflection by artist and curator Andy Sturdevant on the evolution of roadside vernacular, and attendant histories of heartland America where it is so abundant. Also included is a reading list gathered from a cross section of art criticism and cultural studies.

Documenting an exhibition at Dia by Tracey Moffatt, Free-Falling, October 9, 1997–June 14, 1998. Contents: Preface by Michael Govan; Only Angels Have Wings by Isaac Julien with Mark Nash; A Photo-Filmic Odyssey by Lynne Cooke; and Dust by Sam Shepard.

Free-falling includes two newly commissioned works: a suite of twenty-five photographs called Up in the Sky (1996) and a video installation, Moffatt's first in this medium. The subject of this video piece is a surfer, a figure close to the heart of Australia's contemporary self-image. By contrast, Up in the Sky, which was shot near Broken Hill in the Outback, draws on imagery and a landscape that have long been central to the Australian mythos. In addition, the exhibition will include Guapa (Goodlooking), a series of twelve monochrome photographs loosely based on the theme of the roller derby, which Moffatt made in 1995 while on a residency at ArtPace in San Antonio, and Night Cries: A Rural Tragedy (1990), her early but prophetic short film. Guapa explores the intersection of violence with eroticism as sanctioned under the umbrella of sport. Silhouetted against neutral backdrops, the carefully choreographed female contestants create formally compelling images recalling at times sculptural groupings from the art of the past: artifice is as intrinsic to this sport as it is to Moffatt's aesthetic.

Published in 2001 on the occasion of the exhibition "Wim Delvoye: Cloaca", organized by Dan Cameron and presented at the New Museum of Contemporary Art, Januyar 24 - April 14, 2002. Essays by Georges Bataille, Dan Cameron, Salvador Dalí, Milan Kundera, Domique Laporte, Gerardo Mosquera, Dieter Roelstraete, Peter Sloterdijk and Peter Bexte.

Carroll Dunham (b. 1949, New Haven, CT) has eschewed the conventions of abstract and figurative painting, establishing a trademark style and vast body of work that are both deeply original and enormously influential. His early works, painted on wood veneer, used the existing textures of the knotted grain to create elaborate compositions recalling both fantastic organic forms and the popular imagery of cartoons. Mining the unconscious and variously pursuing psychologically charged themes, these psychedelic depictions evolved over the years from primordial amoeba-like forms to quasi-figurative biomorphisms. A formalist by nature, Dunham’s paintings and drawings are studies in control—his line has become a protagonist in itself—nothing is accidental, whether executed in gentle pencil shading, audacious crayon scribble, or painterly ink and gouache.

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

Between 1969 and 1973, Vito Acconci's creative output was focused on body pieces and performances, many of them seminal works now firmly lodged in the art historical canon of the time. Whether he was transforming space by masturbating under a platform extension of the gallery floor or transforming the body by tucking his genitals between his legs, Acconci promoted a radical, corporeal method of working with the human presence that has remained relevant in these less performative times. This publication traces the development of Acconci's early work through his own writings and documentations from that time. Rather than a critical study, it offers invaluable primary source materials: For each of the approximately 200 performances/works included, Acconci drafted meticulous notes, mapping out his ideas and describing the specifications of each piece. Many of the artist's works were ephemeral performances and actions, and these primary source materials are now the only extant artifacts from the work. Thus the book's contents come directly from Acconci's personal archives, and include his notes and documentations, plus photographs, where available. An introduction by Gregory Volk provides historical context and addresses the issues of body art and performance still relevant today.

This large-format scrapbook, compiling Wendell Castle's press clippings, invitations and ephemera, records both his acclaim and neglect during the golden years of the studio movement.

This special-edition scrapbook offers a unique opportunity for readers to immerse themselves in the world of Wendell Castle, icon of the American studio furniture movement and the twentieth century’s preeminent expert in sculptural woodworking.

Catalogue published jointly by Sperone Westwater and Manchester City Galleries on the occasion of the exhibition “Wim Delvoye: Gothic Works,” presented at Sperone Westwater, New York, 13 September – 26 October 2002. Essays by Edwin Carels, Birgit Sonna, Catherine Francblin and Philip Hoare. Hardcover; 152 pages; full color plates; 11 4.5 x 9 inches.v

Published by Cultureel Ambassadeur van Vlaanderen, 1999. Catalogue documenting Wim Delvoye's various artistic practices involving pigs, with a section devoted to his tatooing of pigs and pig skins and another on his faux-marble works using a variety of cold cuts. Essays by Luis Camnitzer, Barbara Braun, and Stijn Huijts. Hardcover; 117 pages; 125 color plates; 8 5/8 x 11 1/4 inches.

This is an exhibition catalogue reproducing ten black-and-white photographs in tri-tone, all taken between 1954 and 1978, culled predominantly from a small group of photographs that survived the 1963 fire that destroyed most of Chappell’s prints and negatives.

Includes a poem by Robert Creeley, composed for Chappell in 1973, and “Time Lived,” an essay by Peter Bunnell, curator of photography at the Princeton Art Museum. Bunnell succinctly reviews Chappell’s work by stating that “Chappell has always believed firmly in the duality of the corporeal and the spirit … The fundamental principle in [his work] is that the tenuous connection to photographic reality is not severed. Each subject is re-presented in such a way that our perceptual limitation is expanded. Each image suggests an inner reality, a kind of scar of the past, a reflection of an act or event once lived.”

This catalog features black and white photographs by Wynn Bullock from 1940 to 1973. Bullock's career showed a deep connection with nature in and around the Central Coast of California. His photographs demonstrate a deep understanding of light, not only as a source of illumination, but also as a symbol of the energy of life. This catalogue includes an essay by Keith F. Davis.

This book documents an exhibition in three parts, extending from Fall 2016 to Spring 2017 in which the artist used bronze wool to burnish the walls of Karma’s Amagansett, Long Island space, creating ethereal clouds and their shadows in the gallery. Includes essays by the architect Jack Self; the composer Roberto Toscano, and the metallurgist Brad Wearstler.

“Many people today, despite the evidence, will not believe―don't want to believe―that such atrocities happened in America not so very long ago. These photographs bear witness to . . . an American holocaust."

–John Lewis, US Congressman

The Tuskegee Institute records the lynching of 3,436 Black Americans between 1882 and 1950. Many times, a photographer was present to capture these events. Without Sanctuary preserves these harrowing, death-marked depictions, saving them so that we may recognize the terrorism unleashed on America’s African American community. Editor James Allen, an American antique collector, includes nearly 100 images of lynchings in America from his own collection, including battleground cases such as the 1911 murders of Laura and Lawrence Nelson in Okemah, Oklahoma the lynching of Rubin Stacy in Fort Lauderdale, Florida in 1935, and the infamous 1915 execution of Jewish factory manager Leo Frank in Marietta, Georgia. These images are accompanied by Allen’s own notes, as well as texts from the late US congressman and civil rights leader John Lewis, the late slavery and Reconstruction historian Leon Litwack, and writer and theater critic Hilton Als, professor at University of California in Berkeley and Columbia University. Now in its 17th printing, Without Sanctuary remains a singular testament to the camera’s ability to make us remember what we often choose to forget.

James Allen (born 1954) is an American collector best known for his vast collection of photographs of lynchings in America. Some of his collected items are now located in the Smithsonian and the High Museum of Art.

Leon Litwack (1929–2021) was a professor of American History at the University of California in Berkeley from 1964 to 2007. He specialized in the Reconstruction Era and the aftermath of slavery in the late 19th and early 20th centuries. His 1979 book Been in the Storm So Long won the Pulitzer Prize for History, the Francis Parkman Prize and the National Book Award.

Hilton Als (born 1960) is a writer and theater critic. He holds professorial positions at the University of California in Berkeley and Columbia University, and serves as a staff writer and theater critic for the New Yorker. In 2017 he won the Pulitzer Prize for criticism. Als has also curated several group art exhibitions including Forces in Nature at Victoria Miro Gallery and Alice Neel: Uptown at David Zwirner Gallery.

John Lewis (1940–2020) became involved in the Civil Rights movement when he was still a teenager. He was introduced to both Rosa Parks and Martin Luther King Jr., and participated in the 1960 Nashville sit-ins as well as the 1961 Freedom Rides. As chairman of the Student Nonviolent Coordinating Committee (SNCC) from 1963 to 1966, he was one of the “Big Six” civil rights leaders who coordinated the March on Washington. He represented Georgia’s 5th District in the U.S. House of Representatives from 1987 until his death in 2020.

New York-based artist Áda Ruilova's videos combine classical cinematic devices with a distinctively low-tech sensibility, quick cuts and rhythmic, jarring soundtracks to create works that exist in the space between sound and image. Drawing equally from B-movie aesthetics and classic montage cinema, Ruilova creates dark, moody narratives that ruminate on psychology and memory. Ruilova is part of a generation of artists who employ media in innovative ways with a do-it-yourself aesthetic, often drawing upon contexts–from cinema to music to popular culture–that exist outside the art world. This catalogue was published in conjunction with the Aspen Art Museum's 2008 exhibition, which surveyed work Ruilova made since 1999; it was her first solo museum presentation. The catalogue contains several essays, along with color stills and written descriptions of each video.

The photographs featured in Viscidity by Boris Mikhailov were completed and sequenced in Kharkov in 1982 but only now published as a book. Reproduced at their original scale, we have added translations from the Russian to English. In addition, the book features “I was walking through a field,” an original bilingual essay by Mikhailov illuminating the history of the work and written specially for this edition.

One of three early and critical image-text works, Viscidity was completed after Horizontal Pictures and Vertical Calendars (1978-1980) and shortly before Unfinished Dissertation (1984). As Mikhailov states: “At first the texts tautologically repeated what was visible in the image, as though they were simply drawing attention to the photograph (the first book)… gradually the texts changed and became poetic and deeper (the second book)… then I added quotations in addition to my own reflections on photography (the third book).”

Viscidity was produced during a time of “deep political stagnation. Nothing is happening — nothing at all is interesting … There was a kind of certainty that society was at the threshold of something unknown, something everyone was anticipating. Many people felt this way.”

Mikhailov is best known for provocative self-portraits and politically charged color photographs, from the earliest works in Red Series (1968–75) to the gut wrenching yet seductive images of the homeless in the Soviet Union, published in Case Studies (Scalo, 1999). A prolific and experimental artist, Mikhailov’s work rests naturally beside the most respected conceptual artists of his generation. Photographs from Viscidity have been exhibited widely throughout his career, most importantly in 2004 in the critically acclaimed exhibition and accompanying catalogue at the Serralves Museum in Portugal by Margarita and Victor Tupitsyn, Verbal Photography: Ilya Kabakov and Boris Mikhailov and the Moscow Archive of New Art.

Artists have always used their imaginations to see beyond visible matter—to posit other physics, other energies, new ways of conceiving the visible and new models for art but the past century has seen an explosion of such investigations. In the fashion of a Wunderkammer, The Quick and the Dead takes stock of the 1960s and 70s legacy of experimental, or research art by pioneers like George Brecht, who posited objects as motionless events and asked us to consider an art verging on the non-existent, dissolving into other dimensions, and Lygia Clark, whose foldable sculptures sought to dissolve the boundary between inside and outside, each a static moment within the cosmological dynamics from which we came and to which we are going.

In a series of encounters with art made strange by its expansions, contractions, inversions and implosions in time and space, The Quick and the Dead surveys more than 80 works by a global, multigenerational group of 50 artists, scientists and musicians — among them James Lee Byars, Joseph Beuys, Marcel Duchamp, Harold Edgerton, Ceal Floyer, Felix Gonzalez-Torres, Pierre Huyghe, The Institute for Figuring, Paul Ramirez Jonas, Stephen Kaltenbach, On Kawara, Christine Kozlov, David Lamelas, Louise Lawler, Paul Etienne Lincoln, Mark Manders, Kris Martin, Steve McQueen, Helen Mirra, Catherine Murphy, Bruce Nauman, Rivane Neuenschwander, Claes Oldenburg, Roman Ondák, Adrian Piper, Roman Signer and Shomei Tomatsu, among many others. Includes reprints of texts by diverse luminaries such as John McPhee, Jalal Toufic, Oliver Sacks, Allan Kaprow and Robert Smithson.

Since 1992, the Dia Center for the Arts has presented the Robert Lehman Lectures on Contemporary Art, an example of Dia's ongoing commitment to cross-disciplinary critical discourse. This fourth volume of collected theoretical and critical essays focuses on Dia's exhibitions from 2001 through 2002, with contributions by Alexander Alberro, Jan Avgikos, Colin Gardner, Dave Hickey, Rosalind Krauss, Miwon Kwon, Ulrich Loock, Richard Shiff and Dirk Snauwaert. These writers analyze the work of artists such as Roni Horn, Alfred Jensen, Bruce Nauman, Max Neuhaus, Panamarenko, Jorge Pardo, Gerhard Richter, Bridget Riley, Diana Thater and Gilberto Zorio. Dia Center for the Arts, 2009 200 pp., illustrations Softcover, ISBN 9780944521793

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

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

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

"Sarfati’s work is defined through an opposition to the editorial urge to fix narratives to her subjects. Her images create a loose, layered and intensely rich visual project triggering emotions and thoughts that move well beyond her ostensible subjects. Sarfati’s importance in today’s debates about the role and visual languages of socially engaged photography also rests in her resistance to fully objectify the subjects that compel her to make imagery. The American Series represents one of those rare experiences for photographers where the photographs almost—just—happened. Sarfati did not overly choreograph her subjects; she also created the psychological space for them, in turn, to act upon her and to act up—or down—for the camera. This perhaps accounts for Sarfati’s success in re-presenting American young people as, simply, individually and universally the carriers of states of minds." — Clare Grafik, Photographers Gallery, London

Text by Olga Medvedkova

This artist's book, with color illustrations and accompanying text by associate curator Annetta Massie, is the first publication focused on this intriguing artist. Krisanamis, a Thai artist who has lived in the United States since 1991, taught himself English by reading the newspaper and marking out all the words he knew. This created a patterned page that became the substructure for his painting and collage combinations. In later works, traditional art materials share pictorial space with tactile ready-mades including cast-off papers, tea, and noodles on blankets, sheets, towels, and other unexpected backings.

The first comprehensive survey of Moffett's investigations into art history, paint, and form, Donald Moffett: The Extravagant Vein provides viewers with insight into the artist's practice over the past twenty years. As a painter, Moffett extends the traditional two-dimensional frame, converting flat planes into highly textured reliefs in oil painting, or into intricate illuminations through video projection onto canvas. The subject matter of his paintings–from landscape and nature to politics and history–is poetic, provocative, and even at times humorous. Moffett has remained engaged with issues surrounding the presence of gays in historical and contemporary culture that resonate today, as well as more timeless questions of love, loss, alienation, and death. Contemporary Arts Museum Houston, 2011 10.6 x 8.6 inches, 224 pp., illustrations Hardcover, ISBN 0847837270

The Japanese artist Yayoi Kusama’s kaleidoscopic environments have captured the imaginations of millions of museum and gallery visitors around the world. Her quintessential polka dots, organic shapes, and optical environments that become hypnotic, merging concepts of flatness and depth, presence and absence, and beauty and the sublime. The paintings on the cover and endpapers of Kusama’s first Artist Journal provide the perfect motivation for any creative pursuit.

The Collected Poems of Mary Ellen Solt brings together nearly five decades of poetic work. Celebrated for her suite of visual poems Flowers in Concrete, much of Solt’s work has remained little known or unpublished. From her lyrical engagement with the “American idiom” of William Carlos Williams to her masterful forays into visual and concrete poetry, this volume, assembled and edited by her daughter Susan Solt, provides an in-depth documentation of a truly original writer who was at the center of some of the most daring global poetic developments of the mid-twentieth century.

The centerpiece of The Collected Poems of Mary Ellen Solt is the section “Words and Spaces,” which presents Solt’s concrete poems as she envisioned them: typographically precise, visually stunning, and commanding on the page. As Aram Saroyan writes in his foreword, these poems are “vivid, intimate inventions.” “The Peoplemover 1968,” a series of rarely seen political posters that grapples with the social upheavals and horrors of the late 1960s, combines Solt’s characteristic humor with a healthy dose of semiotics. Yet Solt was also composing works that encompassed everything from a brief and exacting love of nature to the sly observation of candid conversation; and, in an esoteric visual poem constructed purely from symbols, a meditation on marriage.

One of the few Americans, and rare women, in the concrete poetry movement, Solt edited the influential anthology Concrete Poetry: A World View (1968), which brought her to the forefront of that movement not only as a poet, but as an acclaimed critic. After a prominent career as an independent scholar, Solt became a professor of comparative literature at Indiana University, Bloomington, where she and her colleagues developed and expanded one of the first interarts studies programs in the United States.

Mary Ellen Solt (1920-2007), first recognized professionally for her critical writing on William Carlos Williams, was a writer, scholar, and an early proponent of concrete poetry. One of the few Americans in the concrete poetry movement, she edited the highly influential anthology Concrete Poetry: A World View (1968), which brought her to the forefront of that movement not only as a critic, but as a renowned concrete poet. After a prominent career as an independent scholar, Solt became a professor of Comparative Literature at Indiana University, Bloomington. Solt was the author of several poetry collections: Flowers in Concrete (1966), A Trilogy of Rain (1970), Marriage, ‘a code poem’ (1976), and The Peoplemover 1968: A Demonstration Poem (1978). Her poems, most notably “Forsythia” and “Moonshot Sonnet,” have appeared in countless anthologies over the years. Her “flower poems” have been exhibited internationally; of late, at the 2022 Venice Biennale and at the Getty Center in 2017.