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DATE 2/28/2018

Robert Storr and Francesca Pietropaolo in conversation about 'Interviews on Art' at 192 Books

DATE 2/28/2018

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DATE 2/28/2018

'Entanglements: Plans and Accidents' at the Artbook @ MoMA PS1 Book Space

DATE 2/27/2018

Jack Whitten and the rock-bottom meaning of universality

DATE 2/27/2018

Brian Blomerth's 'XAK'S WAX' zine launch at MoMA PS1 Book Space

DATE 2/26/2018

Black History as told through 'Black Dolls'

DATE 2/25/2018

Unsentimental Wonder: Hilton Als on Alice Neel

DATE 2/24/2018

Boom boxes, break dancing and the Salsa King: Black History from Jamel Shabazz

DATE 2/23/2018

The meaning of color, both racial and painterly

DATE 2/23/2018

Readings in Criticism with 'unbag' at the MoMA PS1 Book Space

DATE 2/22/2018

Swept up by a feeling of awe: Shinique Smith in 'Four Generations'

DATE 2/20/2018

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DATE 2/20/2018

Four Generations of 'Solidary & Solitary' work by artists of African descent

DATE 2/19/2018

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DATE 2/19/2018

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DATE 2/17/2018

Celebrate Black History with Mark Bradford

DATE 2/16/2018

Christian Wassmann book launch at Spoonbill Studio

DATE 2/16/2018

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DATE 2/15/2018

Betye Saar: Uneasy Dancer

DATE 2/14/2018

Sweets for the Sweet: Valentine's Reading, 2018

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Ah, love… or at least seduction!

DATE 2/13/2018

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Jean-Michel Basquiat: Words Are All We Have

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Join ARTBOOK | D.A.P. at the 2018 ARLIS National Conference in New York!

DATE 2/10/2018

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DATE 2/9/2018

Black History told through the Collected Works of Gordon Parks

DATE 2/8/2018

Gordon Parks: A Harlem Family



Gerhard Richter: Panorama, Reviewed in The New York Times Paper Gallery

Gerhard Richter: Panorama is reviewed in the November 4 issue of The New York Times, in the first edition of the Paper Gallery column, which highlights exceptional art books. Also featured is Bruce Davidson: Subway. An excerpt is reproduced below.

Gerhard Richter: Panorama, Reviewed in The New York Times Paper Gallery
"Stool in Profile," by Gerhard Richter.

Dana Jennings writes, "THE publication of “Panorama, a book tied to a retrospective of the German artist Gerhard Richter at the Tate Modern in London, is a perfect occasion for starting this column. After London, the exhibition will travel to Berlin and later to Paris. Most of us, I suspect, won’t be able to catch up with Mr. Richter overseas. But the book based on the show — a paper gallery, if you will — can be gazed at and grazed on from the plush comfort of couch or recliner.
Not every book here is linked to an exhibition, but each reflects the consistent focus and visual serendipity of any good museum or gallery show, without the viewer’s fretting over getting a parking space or having to box out to grab a spot before her favorite de Kooning.
As for the books themselves, each one here blossoms from crucial cultural moments of the 20th century. “Guts and Glory” revives the decades in which pro football became the country’s most riveting spectator sport. “Drawing Power” is an early chapter in the history of American mass media. Subway seizes on those dark years when New York was a city of fear. “Groundwaters” revels in the revelation that essential art wasn’t restricted to museum, gallery and academy. And Gerhard Richter: Panorama subtly wrestles with what it meant to be a significant artist in postwar Europe.
Cultural baggage aside, art — drawn, painted, photographed — succeeds or fails based on its ability to seduce the viewer. Feel free to be seduced."

Gerhard Richter: Panorama, Reviewed in The New York Times Paper Gallery
An untitled scene in Bruce Davidson's book Subway

SUBHUMAN The critic Geoff Dyer once wrote: “The best photographers are to be listened to as well as looked at.” And Subway shimmies and shimmers in urban cacophony: The screeeeech of train brakes, the fluorescent 3-in-the-morning hum on an empty platform, the spray-can hiss of graffiti artists. Mr. Davidson entered this underworld in 1980 — “Subway” first came out in 1986 — and his graffiti-bleeding visions by way of Bosch have only gained in power.

Gerhard Richter: Panorama, Reviewed in The New York Times Paper Gallery
The opening spread of Gerhard Richter: Panorama, published by D.A.P. | TATE.

Edited by Mark Godfrey and Nicholas Serota
20TH-CENTURY GHOSTS Gerhard Richteris considered Germany’s essential postwar artist, and Panorama covers the more than 50 years of his career. The grand sweep of his work is all here, from eerie hyper-realism to bold abstraction, much of it painted in an infinite and textured palette of grays. It’s as if the smoke and ash from all the wars that shaped the 20th century had found their way into his work, into his very psyche."

Gerhard Richter: Panorama, Reviewed in The New York Times Paper Gallery
Gerhard Richter: Panorama, Reviewed in The New York Times Paper Gallery
Gerhard Richter: Panorama, Reviewed in The New York Times Paper Gallery
Gerhard Richter: Panorama, Reviewed in The New York Times Paper Gallery
Gerhard Richter: Panorama, Reviewed in The New York Times Paper Gallery

Gerhard Richter: Panorama

Gerhard Richter: Panorama

Hbk, 9.75 x 11.5 in. / 288 pgs / 290 color.


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