Burgoyne Diller: Collages documents an exhibition consisting of forty-three collages from 1935 through 1965. The collages reflect Diller’s evolution from pure Neo-Plastic compositions of the 1930s to his final studies for minimalist sculpture executed during the 1960s.

Burgoyne Diller was a pioneer of American abstraction and is among the most significant American artists devoted to geometric abstraction. Burgoyne Diller’s earliest abstractions pay homage to Neo-Plastic aesthetics in the tradition of Piet Mondrian, but in the 1940s his work evolved into a very personal, spiritual, and more simplified geometric expression of line and color. As a result, Diller is the vital link between American abstraction of the 1930s and minimalism of the 1950s and 1960s epitomized by artists Donald Judd, Ellsworth Kelly and Myron Stout.

During the late-1920s, at the age of twenty-two, Burgoyne Diller moved from Michigan to New York City, where he began studying at the Art Students League. In 1934, he became employed as an easel painter by the Public Works of Arts Project (PWAP) and in 1935, he was appointed to the influential position of Director of the New York City WPA/FAP Mural Division. In 1937 he was one of the founding members of the American Abstract Artists group, although his official affiliation with this group was short lived. From 1946 until his death in 1965, Diller was a professor at Brooklyn College, where he taught with Ad Reinhardt. Through his lifelong roles as a mentor, Diller influenced countless artists and played a vital role in encouraging the public to embrace abstract art. As Diller expressed, abstraction was "the ideal realm of harmony, stability and order in which every form and spatial interval could be controlled and measured."

In 1990 the Whitney Museum of American Art mounted a major retrospective of Burgoyne Diller. He is represented in numerous museum collections including The Art Institute of Chicago, Solomon R. Guggenheim Museum, Hirshhorn Museum and Sculpture Garden, The Metropolitan Museum of Art, The Museum of Modern Art, New York, and the Whitney Museum of American Art.

Characterized by compositions of various types of steel, Bove’s ongoing series of “collage sculptures,” begun in 2016, amalgamates theoretical and art-historical influences across time periods and disciplines. To create these lyrical and abstract assemblages, Bove pairs fabricated tubing that has been crushed and shaped at her studio with found metal scraps and a single highly polished disk. Luminous color is applied to parts of the composition, transforming the steel—more commonly associated with inflexibility and heft—into something that appears malleable and lightweight, like clay, fabric, or crinkled paper.

Bove’s new works are smaller in scale and elaborate on the “collage sculptures,” with more complex forms that twist, fold, and bend into postures that belie their material construction. She manipulates steel to varying degrees, rendering gentle folds in some, and extreme, almost anthropomorphic contortions in others. Their contrasting textures—matte, glossy, or rough—create a further sense of visual play, heightening the surface tension throughout.

A superb facsimile of the only known notebook of legendary artist Anni Albers, this publication offers insight into the methodology of a modern master.

Beginning in 1970, Anni Albers filled her graph-paper notebook regularly until 1980. This rare and previously unpublished document of her working process contains intricate drawings for her large body of graphic work, as well as studies for her late knot drawings. The notebook follows Albers's deliberations and progression as a draftsman in their original form. It reveals the way she went about making complex patterns, exploring them piece by piece, line by line in a visually dramatic and mysteriously beautiful series of geometric arrangements.

An afterword by Brenda Danilowitz, Chief Curator of The Josef and Anni Albers Foundation, contextualizes the notebook and explores the role studies played in the development of her work.

The work by contemporary Brazilian artist, Valeska Soares navigates the realms of human emotion and experience, ranging from love and intimacy, loss and longing, to memory and language. In her multimedia paintings, sculptures, videos, and sight specific installations, ordinary, everyday objects are transformed to create new and poignant narratives. Initiating her career in Brazil in the late 1980s, Soares’ early work is recognized for engaging the full range of senses, even scent—through the use of flowers and perfumes. Works from recent decades elicit her mastery of language and text, specifically through the conceptual and physical use of books. Published on the occasion of the artist’s largest survey exhibition to-date, this monograph provides a comprehensive examination of works and installations produced during the artist’s nearly thirty-year oeuvre. Part of the Getty’s noted Pacific Standard Time: LA/LA, a far- reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles (2017-2018).

Sharon Lockhart's photographs and films frame the quiet moments and details of everyday life while exploring the subtle relationships between photography and cinema. Much of her photographic work over the past six years has relied on the staging of scenes characteristic of filmmaking; her work has also investigated issues of time, sequence, and narrative in a manner reminiscent of conceptual art. Lockhart's films emphasize the photographic basis of the moving image, often using a fixed perspective to capture unexpected movements and human reactions in a given situation. This catalogue documents the largest and most significant solo exhibition of Lockhart's work in an American museum to date, and focuses on Lockhart's photographic and cinematic work since 1994, including her major film projects Goshogaoka(1997) and Teatro Amazonas(1999). Also featured are essays by curator Dominic Molon and art historian Norman Bryson, focusing on Lockhart's rereading of conceptual photography, and her complex approach to narrative and the gaze, respectively.

Rochelle Goldberg conceived the publication alongside the development of works exhibited at Éclair, Berlin, and The Chinati Foundation, Marfa, following her residency, in addition to The Power Station show. The book includes photo documentation by the artist as well as texts, including the script for a performance featuring fellow artists and collaborators Marie Karlberg, Veit Laurent Kurz and Krista Peters. This collage of materials gathered over the course of years and spread across different locations is highlighted with two texts by writer and curator, Kari Rittenbach.

With designer Geoff Kaplan, Goldberg has created a pendant to her first monograph, Cannibal Actif, further exploring this particular form with the use of rich earth colors and metallic inks.

What makes something a work of art? This was the question that philosopher Arthur C. Danto (1924–2013) asked himself after seeing Andy Warhol’s Brillo Box at a 1964 exhibition at the Stable Gallery in New York City. The philosophy of art was not Danto’s primary area of inquiry at the time, but Warhol’s work prompted him to return to this question over several decades. Danto, professor of philosophy at Columbia University since the 1960s and art critic at The Nation from 1984 to 2009, delivered the previously unpublished lectures presented in this volume at the Acadia Summer Arts Program in Mount Desert Island, Maine, from 1997 through 2009. They explicate the ideas that he set forth in professional philosophical papers and books, including The Transfiguration of the Commonplace (1981), which describes his philosophy of art. Informal yet deeply thought-provoking, these lectures explore how Danto analyzed art through a philosophical lens, yielding an approach that differs from most other contemporary art criticism. Danto’s thoughts on art go beyond formal analysis and taste judgments, instead focusing on questions about the nature of art and attempting to define what a work of art is. These lectures present some of his most notable ideas in terms that those with no training in philosophy can readily understand.

This catalog accompanies A.R. Penck's 1989 exhibition at Fred Hoffman Gallery, featuring a series of large-scale acrylic paintings created during the artist’s stay in Venice, California. Known for his bold, symbolic style, Penck painted these works locally for this particular show. The 34-page catalogue includes 15 color and 6 black-and-white illustrations, offering a glimpse into his evolving practice at the time. It also includes a brief biography of the German artist, reflecting on his journey and influences. A.R. Penck was a painter, printmaker, sculptor, and jazz drummer. A neo-expressionist, he became known for his visual style, reminiscent of the influence of primitive art.

Chase-Riboud was born in Philadelphia and trained in art and architecture at Tyler School of Art at Temple University, the American Academy in Rome, and Yale University. After receiving her M.F.A. from Yale, she moved to Paris, where she quickly garnered attention for her abstract, surrealist figural sculptures and drawings. In 1969 Chase-Riboud began her groundbreaking series of Malcolm X sculptures, in which she combines undulating cast bronze forms with knotted and braided fiber elements. The imposing sculptures, named in memory of the assassinated civil rights leader, set material and thematic opposites into dynamic interaction—bronze and silk; fixed and flowing; hard and soft; brash and hushed; monumental and intimate.

Sculpture is an exhibition catalogue of new work by Charles LeDray; it includes twelve new sculptures, as well as a fourth installment of his ongoing project Village People. Fabricated from a long and varied list of materials, LeDray’s sculptures—whether presented individually or collectively in parts—challenge notions of scale. These works, however, offer little or no indication of the complex processes by which they were created. The media for one work alone include: acrylic paint, Alumalite, brass, embroidery floss, epoxy resin, glitter, various fabrics, oil-based enamel paint, gold-plate, rhodium-plate, patina, paper, pearlescent paint, plastic, sawdust, SO Strong coloring, steel, string, thread and wood. When the extensive labors undertaken in the making of each sculpture are understood, the works take on an astonishing quality in their opposition of the familiar and the irrational. This impressive group of new works further emphasizes Ken Johnson’s statement that “LeDray is one of those rare artists who bring to art-making no ideological program but only an acutely personal way with materials and a fabulously unpredictable imagination.”

This publication reproduces covers of 100 British punk fanzines from the Mott Collection and features two essays: “Glue Was All Over My Fingers” by Toby Mott and “We Are the Writing on the Wall” by Victor Brand.

The zine is mass-produced graffiti, a love letter to an anonymous public, a black-and-white shout into the wilderness. As a product, it goes hand in hand so perfectly with the autochthonous priorities of the punk movement that it seems in retrospect almost inevitable. The youth of the United Kingdom — under- and unemployed, adrift and disillusioned in the aftermath of ‘60s utopianism — were the writing on the wall in the mid-1970s. The kids of punk weren’t all right: Punk was the return of the repressed. Even if they were only talking to themselves, they could express themselves without censorship through music and grainy, handwritten pamphlets.

This is the catalog for Ahmed Alsoudani's exhibition at the then VeneKlasen/Werner gallery in Berlin, September 20 – November 2, 2013. Alsoudani, now based in the United States, represented Iraq at the 2011 Venice Biennale. The title of the Venice show was "Acqua Ferita / Wounded Water."

Published on the occasion of the New Museum’s 2010 retrospective of the work of the multifaceted and hugely influential artist Brion Gysin, Alarme consists of the 1977 calligraphic poem of the same name which was conceived as an artist’s book but never received publication during Gysin’s lifetime. Presented as a square-format series of one-sided pages, Alarme defies easy categorization. Although it consists of words, gridded and repeated to suggest a series of mantras, the words have a tendency to dissolve into visual patterns and pure gestural marks. As Gladys Fabre writes in the book’s introductory essay, “Alarme is an attempt to transcend death. By expelling all signs of identity and by impelling the words unrelentingly into the ink, the artist manages to extinguish his ego, reaching the path that leads to detachment, to ecstasy.”

The 2006 exhibition, Belief and Doubt featured seven artists exploring belief in a spiritual practice as part of an intellectual discourse: Slater Bradley, Paul Chan, Sarah Charlesworth, Adam Chodzko, Julie Mehretu, Brent Steen, and Artur Zmijewski. As Zuckerman Jacobson states in her catalog essay: ''Contemporary references to God–rather than to organized religion–in visual and popular culture are varied and wide ranging. Belief and Doubt is an attempt to examine this phenomenon while reclaiming belief as a highly personal and idiosyncratic practice–one that deserves the opportunity for reflection outside of politics and the popular media.''

This is a catalog of the first exhibition in New York of art from the Boris Lurie estate. It will take place at the Chelsea Art Museum, from 26 March 2011 until 15 May 2011. The show will inaugurate a series of exhibitions devoted to the NO!art Movement and its members and affiliates, as well as other long-neglected or suppressed humanist strains in the art of the latter half of the Twentieth Century. The vitriol and fury of Lurie and his cohorts still runs in the veins of their art fifty and more years after it was created; it is as fresh, powerful, and, remarkably, beautiful, as it was in the cultural near-vacuum in which it was created. Lurie is one of the legendary figures of the East Village avant-garde of the fifties and sixties, a resistor against the institutional structure of art in his day and what he called the “investment art market” and one of the powerful voices for humanity in an art world officially devoid of political or social awareness.

This is an exhibition catalog of Boris Lurie in Habana at the Museo Nacional de Bellas Artes in 2017.

Boris Lurie was an American artist and writer. He co-founded the NO!Art movement which calls for socially and politically involved art that would resist and combat the forces of the market.

Between The Frames: The Forum, by the Spanish born artist Antoni Muntadas, offers a collective portrait of the people and institutions influencing what art is presented and how the art reaches the public. Muntadas began working on Between The Frames: The Forum in 1982, and over the following decade he compiled interviews with more than 100 distinguished representatives of the art worlds of North America, Western Europe, and Japan. These interviews were grouped by Muntadas into eight video “chapters,” corresponding to sectors within the art world: “ The Dealers,” “The Collectors,” “The Galleries,” “The Museums,” “The Docents,” “The Critics,” “The Media,” and an “Epilogue” featuring commentary by artists themselves. This catalogue, published on the occasion of the exhibition, includes essays by Wexner Center Curator of New Media Bill Horrigan and independent curator Debra Balken.

This is a catalog published in conjunction with the exhibition New Work: Christopher Wool at San Francisco Museum of Modern Art from July 6 to September 3, 1989 as part of the series by New Work to show work by younger and established artists.

The 560 page publication is a substantial archive and a singular point of entry with which to understand Andrea Fraser’s work and reception. The interview format provides intimate insight into Fraser’s self-positioning as a central aspect of her practice. By presenting the artist’s voice as mediated through interlocutors ranging from professional peers to popular media, it uniquely contextualizes Fraser’s practice in the artistic, institutional, and discursive fields in which she intervenes. As Fraser is engaged, challenged, and often misunderstood, from diverse perspectives, readers learn as much about her artistic commitments from the artist’s humor and affect as from her incisive analysis.

he collection spans three decades, from the early '90s to the present, and is organized chronologically with minimal editing. Its unmediated format allows Fraser’s key ideas and themes to attain deeper resonance through repetitions and subtle differentiations over multiple conversations. Andrea Fraser Collected Interviews 1990-2018 exemplifies the ways in which artistic strategies can question and recast social norms at an individual and institutional level. This collection is a singular resource for all who are concerned with art’s social roles in the broader public sphere.

Edited by Rhea Anastas, Alejandro Cesarco, and Andrea Fraser.

Designed by Scott Ponik

Both Ends Burning documents an exhibition of new work by Amy Bessone, Thomas Houseago, Matthew Monahan and Lara Schnitger. Bessone, Houseago, Monahan and Schnitger are dedicated to exploring and challenging notions of the figure. Finding a lack of rigor in current trends regarding figuration they look to face their practices without ironic distractions. Together they have decided to take a no-holds-barred approach to their work and find territories not before explored. Each artist confronts figuration from different angles and with various techniques. In this exhibition they continue this dialogue and the intertwining narratives between their work. Thomas Houseago, Matthew Monahan and Lara Schnitger will each be presenting new sculpture and Amy Bessone will show new paintings. Includes an interview with Amy Bessone, Thomas Houseago, Matthew Monahan, Lara Schnitger, and David Kordansky.

The 2014 exhibition “Ana and Carl and some other couples” presented a printout of an article published in the New York Times on February 12, 1988, detailing Carl Andre’s acquittal on the charges that he pushed his wife, Ana Mendieta, to her death from the window of their 34th-floor apartment in Greenwich Village. The exhibition also included 126 books, cut through with circular holes, one to four inches in diameter. Embedded within these holes, at varying depths, was imagery extracted from 1960s and 1970s pornography magazines, exhibiting a variety of positions and possibilities within human sexual interaction — a catalogue of fetishes.

To coincide with the exhibition, PPP Editions has published Ana and Carl and some other couples in an edition of 126 copies. Bound without covers and printed on perforated paper, each of the 126 original book-collages is paired on every double-page spread with a centered black circle, which expands in diameter as the book progresses until it fully covers the final pages in solid black. The multiple mappings of these holes suggest the camera coming at the viewer, who finally is absorbed within a larger circle that eventually exceeds the bounds of the book. Each edition is signed and numbered in white marker by the artists and housed in a black glassine wrapper affixed with a wafer seal.

This catalog records a three-part survey show by the Michael Rosenfeld Gallery, featuring leading and lesser-known figures of Abstract Expressionism.

Addressing contemporary international art beyond glib expressions of globalism, Brave New Worlds assesses the current state of political consciousness and its multivalent artistic manifestations in an era characterized by the unraveling of a unified world order. Guided by the questions ''How do we know?'', ''How do we experience?'' and ''How do we dream about the world?'', 24 artists from Southeastern Europe to South America, from the Middle East to East Asia and from North Africa to North America propose their own answers in paintings, drawings, sculptures, installations and videos. The catalogue includes several brief ''correspondent'' essays, inspired by newspaper reports and penned by an international cast of young art historians, critics and curators, including Max Andrews and Mariana Canepa Luna (Spain), Cecilia Brunson (Chile), Hu Fang (China), Tone Hansen (Norway), Mihnea Mircan (Romania) and Jose Roca (Colombia). Recent texts by philosopher Kwame Anthony Appiah, celebrated author and activist Arundhati Roy and award-winning foreign correspondent Janine di Giovanni provide additional perspectives on global affairs of the past decade. In addition, Brave New Worlds features an artist insert by Lia Perjovschi of Romania, entitled ''Subjective Art History from Modernism to Today,'' and entries on each individual artist. This publication is fully illustrated with color and black and white images. As implied by its title, Brave New World contains a broad spectrum of images and content dealing with politics, power and social behaviors. Some content may not be appropriate for all ages. Walker Art Center, 2007 8 x 11 inches, 290 pp., illustrated Softcover, ISBN 0935640894

Charles Arnoldi: A Mid-Career Survey 1970-1996 is an exhibition catalog published by Fred Hoffman Fine Art at Santa Monica, CA. It showcases the sculptural works and paintings of Charles Arnoldi. This volume features 24 color plates, additional illustrations, and two gatefolds, all finely printed on heavy matte paper. It includes essays by renowned architect Frank O. Gehry and art historian Sam Hunter, along with a preface by Fred Hoffman. The catalogue also contains a biography, a list of plates, and an exhibition checklist.

Charles Arnoldi is an American abstract painter, sculptor, and printmaker. A versatile, ever evolving artist, known for working with non-traditional materials, Arnoldi has produced a hugely varied body of work. From traditional oil paintings on canvas, to bronze sculpture, monoprints, lithographs, “chainsaw paintings” (wood panels cut into with power saws), aluminum paintings and polyethylene wall reliefs, his vocabulary of artistic expression is constantly expanding.

Improvisations - 1945 features a selection of thirty works on paper and paintings, all dating from 1945. A student of Neo-Plasticism, von Wiegand's work from this period demonstrates her experimentation with the technique of automatism as well as her awareness of and respect for the avant-garde abstractions of European modernists including Jean Arp, Wassily Kandinsky, Joan Miró, and Piet Mondrian.

This is a catalog for the exhibition Boris Lurie NO! at the Janco Dada Museum from June 25 to November 23, 2016.

The first monograph for Los Angeles–based artist Anthony Pearson (born 1969) documents nearly 15 years of monochromatic photographs, sculptures and multimedia works. The book documents Pearson’s studio and includes artist’s reflections and a curatorial essay tracing his varied cultural influences—including music and the culture of Southern

In his late eighties, American painter Charles Garabedian is hardly a household name. But he is a highly influential artist whose works are collected by LACMA, the Met, MoMA, the Whitney, the Corcoran and the Smithsonian, among other institutions, and the subject of this extensively illustrated exhibition catalog from the Santa Barbara Museum of Art.

This revelatory group of intimate representational paintings and drawings -- from Garabedian's first museum show in almost 30 years -- explores themes of war, music, the body, dismemberment, heroism, comic pretension, love and death. An exciting discovery of surprising importance.

Exploring the recent sculptural innovations of prominent contemporary artist Carol Bove

Carol Bove: Collage Sculptures presents an extensive look into the contemporary artist’s work over the past five years and her ongoing exploration of scale, color, material, and artistic traditions of the twentieth century.

Bove’s recent work engages the conceptual concerns of mid-century sculpture, such as spontaneity, industrial materials, and the potential of painted sculpture. However, within this space of familiar sculptural traditions, Bove has discovered new approaches that lead to places previously unknown. Bove’s “collage sculptures” are created from scrap metal and stainless steel that has been carefully worked into sinuous forms and are frequently painted. Considering the hard rigidity of the steel, the works possess an appearance of almost impossible softness, as if steel could become as pliable as clay. Such works range from small pedestal sculptures to large, imposing compositions. Bove’s interest in scale and how a viewer’s understanding of an artwork shifts depending on its context are explored through a selection of small works from the collection of the Nasher Sculpture Center.

Published by the Nasher Sculpture Center, the catalogue features beautiful reproductions of Bove’s work and an introduction as well as an essay by curator Catherine Craft on the development of the collage sculptures and their relationship to other artists and traditions of modern sculpture. Also included is an essay by Lisa Le Feuvre that explores Bove’s complex work by means of a thematic alphabet related to the artist’s interests.

Charles G. Shaw represents a landmark exhibition featuring thirty five major paintings from the 1930s and 1940s. Charles Green Shaw (American, 1892-1974) was a preeminent American abstract artist whose painting and writing contributed greatly to the social, artistic, and cultural dynamism of America. Shaw’s enormous range of subject matter and his dynamic approach to style have made him one of the most popular abstractionists of his time. Over the last eighty years, his work has been the subject of numerous solo exhibitions, most recently in 1997, at The Whitney Museum of American Art. His work can be found in major modern museums across the United States including the Museum of Modern Art (NYC), Metropolitan Museum of Art, Solomon R. Guggenheim Museum, Art Institute of Chicago, and San Francisco Museum of Modern Art. Charles Green Shaw died in New York City in 1974 at the age of 82. Michael Rosenfeld Gallery, 2007 Hardcover, 96 pgs No ISBN

This is a catalogue for the exhibition of work by Aaron Siskind, held at the Glenn Horowitz bookstore in East Hampton, NY, May 31 - June 24, 1997. Photographs by Aaron Siskind; essay by Peter C. Bunnell; curated by Andrew Roth.

Rochelle Goldberg’s Cannibal Actif devours the line between artist book and archive. Each page bracketing a visual thought that leaks off the page seeping through to the next, proposing a structural challenge to the visual, material, and narrative format through which it unfolds. The book's pale cover will wear the dust and dirt of its surroundings, collected over time, while extreme varnish on the pages within will capture the readers residual touch.

Thick pools of crude oil envelope bathers in Baku, spilling off their bodies onto a floodline, or further seeping out as a glossy stream of text. Oil poured over gears and out of portals does not stop at the page's edge. These spills are free of constraint—the drainage collects elsewhere onto another page, as a new image: a face, a hand, a snake. The arc of Goldberg’s story traces the cannibal’s consuming action and subsequent digestion, through corporeal flesh to mechanistic fixtures, while the material limit of ink on a page has been pushed to reflect this narrative track. Overlapping sequences of chroma centric blacks and rusty metallics bend and bleed to offer a psychedelic saliva that lubricates a hardened message, then tempered by soft gradients of reds, greens and pinks, reflecting the visceral membrane of a jellyfish, at once separating and joining two cavities—ingesting and secreting, in rhythm. Through consumption, the cannibal augments itself, but the reader must also cross the swamp, the mirror, and the pools of oil or crystalline water, to reach this enhanced state. A new life of texts and tones greets us on the other side of the mirror.

Contributions by art historian Leah Pires, publisher Frances Perkins, and the artist crack open previous helpings of thoughts served as varnished murmurs, bold words now permitted to ooze across double-page spreads, a regurgitated message we too can consumed.

These six large-scale paintings, dating from 1953–54, comprise a pivotal and formative series in Al Held’s work, made when he had recently returned to New York from a three-year course of study in Paris. This exhibition catalog includes an essay by Robert Knafo.

Baghdad-born Ahmed Alsoudani left Iraq for the United States in 1999. He studied painting at Yale University while seeking political asylum, and graduated in 2008. Currently based in Berlin, Alsoudani's work reflects the troubled contemporary history of his home country, while participating in a tradition of painting that depicts war and atrocity. This volume collects recent works.

Text by Dung Ngo, Darrin Alfred, and James Zemaitis. Published on the occasion of the homonymous exhibition on view at R & Company from April, 25 to June, 15, 2017. Ali Tayar: Systems & One-Offs features graphic design by MEMO NY.

American Folk Art Museum, 1999 9.2 x 11 inches, 239 pp., color illustrations Hardcover, ISBN 978-0912161075

Art to Zoo features highlights of a fascinating and beautiful exhibition, curated by Karen Sinsheimer. In more than two dozen extraordinary photographs chosen from the Museum's permanent collection, we witness the visions of an array of artists as diverse as Roman Vishniac and Susan Jorgensen, Eadweard Muybridge and Shaun Walton, Harold Edgerton and Macduff Everton. These photographic masterworks look beyond the immediate allure of adorable animals and offer the opportunity to explore scientific discoveries in a variety of species. Just as animal portraiture reveals personalities and presence, Art to Zoo: Exploring Animal Natures seeks to reveal the complex, thoughtful, and often elegant ways in which animals touch, see, and hear the world.

For a decade, Patricia Fernández amassed a collection of objects as part of a time-based project between her and her friend, the gallerist Young Chung. This publication by Commonwealth and Council with the support of Los Angeles Contemporary Archive (LACA) shares the contents of the artist’s letters, ceramic ware, newspaper ephemera, textiles, sculptures, drawings, paintings, mementos, and written agreement between Fernández and Chung that initiated this correspondence collection. The book, designed as an inventory, tells the story of Fernández’s prolonged period of isolation in the Mojave desert, her transition into motherhood, and Chung’s risky formation of a gallery, sharing with us an archival collection that highlights the care between one another.

Allan McCollum reviews his work from the 1970’s to the present and discusses his ongoing obsession with the question of what makes an object an “art object.” McCollum is best known for his multiples, which by sheer power of replication force us to rethink notions of identity and uniqueness. The artist is interviewed by Thomas Lawson. McCollum: “We live in a world filled with substitutions for things that are absent, since every copy, in a certain sense, only exists because the original is gone. So copies are always about something absent, and in that way, they carry a sense of mourning, death, or loss.”

This group exhibition explores the various facets of abstraction produced from 1950 to 1965. Artists included are: Norman Bluhm, Jay DeFeo, Beauford Delaney, Burgoyne Diller, Fritz Glarner, Grace Hartigan, Eva Hesse, Lee Krasner, Norman Lewis, Boris Margo, Alfonso Ossorio, Anne Ryan, Charles Seliger, Alma Thomas, Mark Tobey, Esteban Vicente, and Charmion von Wiegand.

Renowned for his vivid, larger‐than‐life portraits, Alex Katz is a towering figure in contemporary painting. His work can be found in institutions such as the Metropolitan Museum of Art, the Art Institute of Chicago, MoMA, LACMA, and the National Portrait Gallery. The revised and expanded edition of Phaidon’s landmark survey is the most up‐to‐date overview of Katz’s prolific 50‐year career. Featuring more than 300 gorgeous reproductions of key works, Alex Katz devotes ample space to the artist’s lush portraits while also including his landscapes, sculptures, and painted books.

AutoPlastic: Wendell Castle (1968-1973) accompanied R & Company’s exhibition of the same name, curated by Donald Albrecht and on view at the gallery’s 82 Franklin location from April 20 to June 15, 2004.

AutoPlastic situates Wendell Castle’s plastic furniture in the context of late 1960s and early 1970s design innovations and examines, through a selection of photographs, magazine clippings, and ephemera, the relationship between the objects and their era’s social and cultural concerns. With natural, primitive, archaic, and womb-like forms, Castle’s plastic objects recall a time when novelty and fantasy were a means of individual expression (“doing your own thing”). They also highlight how environmentalism (“going back to the earth”) and escapism (“getting away from it all”) were intense reactions to the upheaval of America’s shifting values, student protests, race riots, assassinations, and the war in Vietnam.

The AutoPlastic: Wendell Castle (1968-1973) catalog featured an essay by Donald Albrecht, was designed by Lisa Steinmeyer with photographs by Eva Heyd.

This catalogue contains full-page reproductions of the entire body of work presented in Gest's 2006 Renaissance Society exhibition. In this series, Gest captured his lone sitters at the chance interstices of deep reflection, when the self dwells in thought. The construction of the self as it happens before Gest's camera serves to question the construction of that self in reality. Gest uses digital photography to monumentalize photography's ability to capture such fleeting moments. Each photograph is seamlessly constructed from hundreds of digital images of the sitter and their surroundings. The photographs' initial straightforward appearance can only be maintained at a cursory glance. Gest's subtle and not so subtle exaggerations of proportion and perspective quickly betray the images as mannerist constructions. This makes Gest's work susceptible to the discourse of post-photography, which is dominated by the means rather than the ends of photography. Gest however is adamant that the means he employs should in no way be mistaken for their meaning, stating, "That the image is made and manipulated digitally is neither here nor there. Digital photography simply allows me to make the picture I want." In her essay, Catherine Sousloff, Professor of History of Art and Visual Culture at the University of California, Santa Cruz, analyzes Gest's work in relation to historical protraiture and the visual construction of modern subjectivities. The catalogue also includes the transcript of an interview between Ben Gest and Hamza Walker.

Ali Banisadr is a painter known for complex, engaging and enigmatic paintings of semi-abstract forms. Drawing references from various art historical traditions – Persian miniatures, abstract expressionism, and surrealism – Banisadr's paintings present evocative visual narratives. This catalogue was published on the occasion of the exhibition “Ali Banisadr: Trust in the Future,” presented at Sperone Westwater, New York, 4 May – 24 June 2017.

Essay by Lilly Wei.

"The disparate photographs assembled here were made over the course of twenty years. None of them were originally intended to be used in this book. By ordering and shaping them I tried to investigate the possibilities of narrative both within a single image and especially in relation to the other photographs. A Storybook Life is an attempt to discover the possibilities of meaning in the interaction of seemingly unrelated images in the hope that content can constantly mutate according to both the external and internal condition of the viewer, but remain meaningful because of its inherent, but latent content. The conscious and subconscious decisions made in editing the photographs are the real work of A Storybook Life." —Philip-Lorca diCorcia

Baragouin is an artists’ book by Los Angeles-and Berlin-based artist Kim Schoen. The book is a companion piece to a video work of the same name, filmed in a now-closed residential sculpture showroom in Los Angeles. The video Baragouin presents these sculptures—which are copies of copies of original works of art—as an important collection of art and records their “voices”—a pastiche of verbal nonsense and phonetically imitated sounds of languages from around the world. The sculptures range in style and geographic origin from Buddhist to Rococo, Neoclassical to Modernist. Baragouin, the book, catalogs these sculptures as a fictional collection and gives them each a clear art-historical provenance based on morphological resemblances. Baragouin is designed by Ella Gold and includes an essay and “provenance” work by Edward Sterrett.

Kim Schoen is an artist working in video installation, photography, and text that engages the rhetoric of display. Her absurdist, experimental approach takes on objects and language that try to persuade or convince us of something, using them as raw materials to say something new.

Edward Sterrett is a writer, art historian, and educator living in Los Angeles. He is currently teaching modern and contemporary art history, and working on several writing projects that address the collection, exchange, and display of art objects.

Ella Gold is a Los Angeles-based art director and graphic designer specializing in print, publication, and identity design.

Bruce Conner (1933-2008) first came to prominence in the late 1950s as a leader of the assemblage movement in California. Conner had close ties with poets of the San Francisco Renaissance (particularly Michael McClure) as well as with artists such as Wallace Berman, George Herms, Jess and Jay DeFeo. Conner's use of nylon stockings in his assemblages quickly won him notoriety, and saw his work included in Peter Selz's classic 1961 Art of Assemblage show at MoMA. Around this time, Conner also turned to film-making, and produced in swift succession a number of short films that helped to pioneer the rapid edit and the use of pop music among independent film-makers. Conner's innovative editing techniques and decidedly dark vision of American culture laid the foundation for later Hollywood directors such as Dennis Hopper (a friend and collaborator of Conner's, who frequently acknowledged his influence) and David Lynch. A long overdue and significant addition to the understanding of twentieth-century American art and cinema, 2000 BC:

The Bruce Conner Story Part II represents the most comprehensive book to date on Conner's work from the 1950s to the present. The authors elucidate Conner's work in film, assemblage, drawing, printmaking, collage, and photograms, as well as his more ephemeral gestures, actions, protests and escapes from the art world. This beautifully designed clothbound monograph is a landmark publication for anyone interested in contemporary art, film, culture and the Beat era.

The work of Nicolás Guagnini and John Kelsey manifests itself in distinctly different forms; yet the two share an affinity for playing with the roles and structures of the art world. The conversation includes discussions of some of their recurring topics and themes: gossip, the jeune-fille, institutional critique, the abject, humor and their participation in collaborative ventures (Orchard and Union Gaucha Productions for Guagnini and Reena Spaulings and Bernadette Corporation for Kelsey). The publication is part of A.R.T. Press's Between Artists conversation-based series.

In the early 1980s, a group of artists, writers and activists came together in New York City to form Artists Call Against US Intervention in Central America, a creative campaign that mobilized nationwide in an effort to bring attention to the US government’s violent involvement in Latin American nations such as Nicaragua and El Salvador. Together the group staged over 200 exhibitions, concerts and other public events in a single year, raising awareness and funds for those disenfranchised by such political crises.
Art for the Future illuminates the history of Artists Call with archival pieces and newly commissioned work in the spirit of the group’s message. In Spanish and English, a wide selection of artists and organizers examine the group’s history as well as the issues that were as urgent to Artists Call in 1984 as they are now: decolonization, Indigeneity, collectivity, human rights and self-determination.

Adam Gilders was a virtuoso of the deadpan prose miniature. He published his stories in The Paris Review, The Walrus, Sunbird and J&L Illustrated, before passing away in 2007, at the age of 36, of a brain tumor. Another Ventriloquist collects Gilders' previously unpublished vignettes. A gem of concision and wit.

In 1989, A.R.T. Press began documenting the social world of contemporary art by asking artists to interview one another.

Between Artists presents twelve lively pairings, including Kim Abeles interviewed by Michael McMillen, Vija Celmins interviewed by Chuck Close, Jimmy DeSana interviewed by Laurie Simmons, Judy Fiskin interviewed by John Divola, Felix Gonzalez-Torres interviewed by Tim Rollins, Mike Kelley interviewed by John Miller, Allan McCollum interviewed by Thomas Lawson, Anne Scott Plummer interviewed by Viola Frey, David Reed interviewed by Stephen Ellis, Laurie Simmons interviewed by Sarah Charlesworth, Pat Sparkuhl interviewed by Kim Abeles, and Andrew Spence interviewed by Colin Thomson. The publication offers rare insight into the issues that inform the work of contemporary artists in their own words.

This is an exhibition catalog of Boris Lurie in Habana at the Museo Nacional de Bellas Artes in 2017.

Boris Lurie was an American artist and writer. He co-founded the NO!Art movement which calls for socially and politically involved art that would resist and combat the forces of the market.

Charles Sheeler (1883-1965) created paintings, lithographs, and photographs that reflected his aesthetic interest in industrial scenes of the early 20th-century American landscape. After training in industrial drawing, he became the major exponent of Precisionism, a style of painting that emphasizes clean-cut lines, simple forms, and large areas of flat color, creating a sense of order and ''precision'' to reveal how the lines of industrial architecture structure psychological experience. The catalog includes an introduction by Carol Troyen.

Comprised of entirely Googled images of Abraham Lincoln, the book shows our sixteenth president sequentially turning his famous profile from right to left. Harrison’s hefty collection of images encapsulates the obscurities of our digital age, a parade of absurd representations attesting to the over-commodification of American history. Among the more traditional portrait-style depictions of Lincoln, are peculiar appropriations– a Lincoln toe ring, a Lincoln cake, a Lincoln egg, a Lincoln coffee mug, a Lincoln emoticon, a Lincoln pillow, a Lincoln hulk. It begs the question, what prompts us to venerate our cultural heroes in such ways? Transposing the image of a socio-political icon into kitsch formats, assimilating his recognizable physiognomy into sarcastic patriotic gestures. The images are all presented as they were found online, their formats untampered with and recontextualized in print.

Featuring work by artists Kevin Beasley, Peter Downsbrough, Goutam Ghosh, Falke Pisano, and Martha Wilson, group exhibition Between the Ticks of the Watch (Apr 24–Jun 26, 2016) presented a platform for considering doubt as both state of mind and pragmatic tool.

This illustrated catalogue features newly commissioned texts by Ranjit Hoskote, Heidi Salaverría, and Richard Shiff, and an introduction by curator Solveig Øvstebø. Contributions from the artists include a cover by Downsbrough, transcript of Pisano's video work, and a text by Beasley.

Seeing and imagining music in a pandemic: a dialogue of found scenes and inspired sounds between two protagonists of experimental music

Known for his ability to locate music and sound in the most unexpected contexts, artist Christian Marclay (born 1955) began photographing the emptied London streets when the world shut down in the spring of 2020. He found the quiet―the absence of all the city sounds―both haunting and peaceful. On his daily walks, he began to imagine that there might be music in the landscape. He snapped a photo of an iron gate adorned with decorative white balls as it reminded him of a musical score. He sent it to his friend, the composer Steve Beresford (born 1950), and asked: “How would this sound on the piano?” Beresford responded a few hours later with a recording. Over the course of the spring, he took more photographs which inspired more music.

This book collects the dialogue between Marclay and Beresford, which could only take place virtually during lockdown. In his introduction, Marclay writes, "I realized that all my pictures were of enclosures: gates, fences, windows, closed stores. A view of the world behind barriers." The correspondence between image, sound and its notation breaks through those barriers, expanding space in magical ways. Call and Response is a testament to how the world at large can be not only reflected in image but translated into sound.

Benjamin Patterson: Born in the State of FLUX/us is a retrospective of the artist's career, which now spans nearly fifty years. The exhibition includes both early and recent work that range from annotated scores and books to painting and sculpture. As a founding member of Fluxus–a loose and international collective of artists who infused avant-garde practices of the day with humor and anarchic energy–Patterson helped revolutionize the artistic landscape at the advent of the 1960s and usher in an era of new and experimental music.