AGMA Publishing

Francesca Woodman: Photographs 1977-1981

Francesca Woodman’s first solo exhibition was held in 1978, in the basement of a small bookshop in Rome named Maldoror. Operated by two young men named Giuseppe Casetti and Paolo Missigoi, Maldoror specialized in Surrealist and Futurist books and rarities. One day, Cassetti recalled, Francesca came up to me and handed me a grey cloth box and said, I’m a photographer.’ I opened the box and I was immediately seduced by what was in it […] The short-circuit between her girlish appearance and the forcefulness of her images disoriented me […]: standing before me was a great artist. She then said, If you want, you can do something with this box.’” So it was that, on 3 April 1978--the photographer’s twentieth . . . . Pbk, 11.75 x 9.5 in. / 132 pgs / 97 color / 27 b&w /Ltd Ed of 2,000 copies.

Introduction by Giuseppe Casetti. Contributions by Francesco Stocchi.

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Silvana Editoriale

Francesca Woodman's Notebook

The American photographer Francesca Woodman (1958–1981) spent a brief portion of her childhood in the countryside around Florence, living with her parents in an old farm whose dilapidated interiors were later to influence the backdrops of her mesmerizing self-portraits. In 1977 she returned to Italy, studying in Rome on a year-long RISD honors program. During this tenure, Woodman found five tattered school exercise books, printed in 1906, side-stapled and inscribed in fine cursive penmanship with notes from physics lectures or poems in English and Italian. To these evocative objects, Woodman--already fully formed as the photographer we recognize and admire today--added her characteristic black-and-white photographs, either as small paper prints or as prints made on transparent film that allows the writing beneath . . . . Boxed Pbk, 8.25 x 6 in. / 24 pgs / 7 b&w.

Afterword by George Woodman.

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Guggenheim Museum Publications

Rineke Dijkstra: A Retrospective

This volume is the first comprehensive monograph on Rineke Dijkstra to be published in the United States. The catalogue accompanies the first U.S. mid-career survey of this important Dutch artist’s work in photography and video; it features the Beach Portraits and other early works such as the photographs of new mothers and bullfighters, together with selections from Dijkstra’s later work including her most recent video installations. Also included are series that she has been working on continuously for years, such as Almerisa (1994–present), which documents a young immigrant girl as she grows up and adapts to her new environment. The catalogue features essays by exhibition curators Jennifer Blessing (Senior Curator of Photography at the Guggenheim) and Sandra S. Phillips (Senior Curator . . . . Hbk, 9 x 12 in. / 264 pgs / 170 color.

Text by Jennifer Blessing, Sandra S. Phillips. Interview by Jan van Adrichem.

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Guggenheim Museum

Richard Prince

For 30 years now, the American artist Richard Prince has been considered one of the most forward-thinking and innovative artists in the world. In 1977, his deceptively simple act of re-photographing advertising images from The New York Times Magazine and presenting them as his own ushered in an entirely new, critical approach to making art--one that questioned notions of originality and the privileged status of the unique aesthetic object. Prince's technique involves appropriation, and he pilfers freely from the vast image bank of popular culture to create works that simultaneously embrace and critique a quintessentially American sensibility, with images stemming from the Marlboro Man, muscle cars, biker chicks, off-color jokes, gag cartoons and pulp fiction novels, among many other sources. Organized . . . . Hardcover, 8 x 11 in. / 368 pgs / 438 color.

Text by Nancy Spector, Glenn O'Brien, Jack Bankowsky.

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Guggenheim Museum

Chaos and Classicism

Art in France, Italy, and Germany, 1918-1936

Now available in paperback, Chaos and Classicism explores the classicizing aesthetic that followed the immense destruction of World War I: the poetic dream of antiquity in the Parisian avant garde of Fernand Léger and Pablo Picasso; the politicized revival of the Roman Empire under Benito Mussolini by artists such as Giorgio de Chirico and Mario Sironi; and the austere functionalist utopianism of the Bauhaus, as well as, more chillingly, the pseudo-biological classicism, or Aryanism, of nascent Nazi society. Among the other artists surveyed here are Ludwig Mies van der Rohe, André Derain, Gino Severini, Jean Cocteau, Le Corbusier, Amédée Ozenfant, Madeleine Vionnet, mile-Jacques Ruhlmann, Carlo Carrà, Giorgio Morandi, Massimo Campigli, Achille Funi, Ubaldo Oppi, Gio Ponti, Arturo Martini, Georg Kolbe, Oskar . . . . Pbk, 8 x 10.75 in. / 192 pg / 140 color.

Text by Emily Braun, Kenneth E. Silver, James Herbert, Jeanne Nugent, Helen Hsu.

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Guggenheim Museum

Kandinsky

No other artist epitomizes the character of the Guggenheim Museum quite like Vasily Kandinsky, who is closely linked to the history of the museum and has been collected in depth in the permanent collection since its founding. Kandinsky accompanies the first full-scale retrospective of the artist's career to be exhibited in the United States since 1985, when the Guggenheim culminated its trio of groundbreaking exhibitions of the artist's life and work in Munich, Russia and Paris. This presentation of nearly 100 paintings brings together works from the three institutions that have the greatest concentration of Kandinsky's work in the world: the Solomon R. Guggenheim Museum, New York; Centre Georges Pompidou, Paris; and Städtische Galerie im Lenbachhaus, Munich; as well as significant . . . . Hbk, 10 x 10 in. / 320 pgs / 260 color.

Edited by Tracey Bashkoff. Text by Vivian Endicott Barnett, Christian Derouet, Matthias Haltemann, Annegret Hoberg, Gillian McMillan.

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Guggenheim Museum

The Museum of Non-Objective Painting

Hilla Rebay and the Origins of the Solomon R. Guggenheim Museum

Exploring the origins and early days of the Guggenheim Museum--when it was first known as the Museum of Non-Objective Painting--this volume reveals for the first time the Guggenheim's complex architectural history, drawing on extensive correspondence between Founding Director Hilla Rebay and artist Rudolf Bauer (whose work the Guggenheim collected exhaustively) to reveal the leading role Bauer played in envisioning the collection and the museum. It also explores Rebay's unusual curatorial conceptions and framing practices at the museum's early locations. Karol Vail provides biographies of many lesser-known artists in the museum's collection, while others discuss the museum's early history and ambitions. Architectural drawings, installation views, photographs and color plates of selected artworks help track the rise of this great museum. . . . . Hbk, 9 x 11 in. / 352 pgs / illustrated throughout.

Edited by Karole Vail. Text by Tracey Bashkoff, Don Quaintance, John Hanhardt.

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Guggenheim Museum

Felix Gonzalez-Torres

In April 2006, the Department of State announced that the late Cuban-born conceptual artist Felix Gonzalez-Torres would represent the United States at the 2007 Venice Biennale (June 1-November 21). This much sought-after and long-out-of-print volume, reissued by the Guggenheim Museum for the occasion, was originally published to accompany the artist's solo exhibition at the Museum in 1995, one year before his untimely death at the age of 38. Gonzalez-Torres wanted a readable book, not a catalogue per se--something, he said, that one could take to the beach. Pleasure was an integral part of his art (and his life). While he understood that art was innately political and, by necessity, a vehicle for cultural criticism, he believed that social critique and enjoyment . . . . Hardcover, 6 x 9 in. / 228 pgs / 172 color.

By Nancy Spector.

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Guggenheim Museum

Divisionism/Neo-Impressionism: Arcadia & Anarchy

This beautifully designed exhibition catalogue explores the optically vibrant paintings of the late nineteenth-century Italian Divisionists, examining, for the first time, their relationship to Neo-Impressionism. Artists from both movements subscribed to a painting technique rooted in color theory; held left-wing political views; and pursued similar subject matter--from idyllic landscapes to timely social problems. Arcadia and Anarchy underscores the Italian artists' autonomy from their European counterparts and highlights their importance in pioneering Modernism. Published to accompany the premiere of the exhibition at the Deutsche Guggenheim, Berlin, which was curated by Vivien Greene and will travel to the Guggenheim Museum, New York in the summer of 2007, this focused study of 40 key Divisionist works is the first of its kind to appear . . . . Clothbound, 9 x 9 in. / 144 pgs / 61 color.

Text by Vivien Greene, Giovanna Ginex, Dominique Lobstein, Aurora Tosini.

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Guggenheim Museum

Robert Rauschenberg: Gluts

In the mid-1980s, Robert Rauschenberg's creative attentions turned toward the visual and plastic properties of junk metal when he began to assemble found metal objects and screenprint his photographic images onto aluminum, bronze, brass and copper. His first body of work in this vein was Gluts, a series begun in 1986 and continued intermittently until 1995, in which ornate metalwork seemingly derived from a bedpost might attach to a slice of mesh wire, or twisted petals of yellow metal might sprout from the remains of an eviscerated toaster. Asked to comment on his novel use of the word "gluts," Rauschenberg said, "It's a time of glut. Greed is rampant... I simply want to present people with their ruins... I think of . . . . Flexi, 11.5 x 10 in. / 120 pgs / 70 color.

Edited by Susan Davidson. Text by Trisha Brown, Mimi Thompson. Preface by Philip Rylands.

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Guggenheim Museum

Julie Mehretu: Grey Area

American artist Julie Mehretu is celebrated for her large-scale paintings and drawings that layer abstract forms with familiar architectural imagery. Inspired by historical photographs, urban-planning grids, modernist structures and graffiti, these semi-abstract works explore the intersections of power, history, dystopia and the built environment, and their impact on identity formation. This volume marks the exhibition of a new series of works commissioned by Deutsche Guggenheim, Berlin. In conjunction with this project, Mehretu established a studio in Berlin where she produced a remarkable suite of paintings that deal with erasure and decay. Addressing what it means to be an American artist in Germany during the Iraq and Afghanistan wars under the Bush administration, Mehretu's canvases meditate on the idea of the modern . . . . Clth, 9.25 x 11.25 in. / 128 pgs / 106 color.

Text by Joan Young, Brian Dillon.

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Guggenheim Museum

Guggenheim Museum Collection: A To Z

Revised, expanded and completely redesigned, this latest edition of the Guggenheim Museum's popular guide to its New York collection is a beautifully produced volume, not only a handy overview of the museum's holdings but a concise, engaging primer on twentieth-century art. Organized alphabetically, the book consists of entries on more than 250 of the most important paintings, sculptures and other artworks in the collection by artists from Marina Abramovic to Gilberto Zorio. Also included are definitions of key terms and concepts of modern art, from Action” to Non-Objective” and beyond. The Guggenheim Museum Collection is beloved for this wealth of masterpieces by leading modern artists, such as Marc Chagall, Vasily Kandinsky and Pablo Picasso. Reflecting the recent growth in the collection, . . . . Hardcover, 6 x 9 in. / 392 pgs / 310 color.

Edited by Nancy Spector. Essays by Jennifer Blessing and Bridget Alsdorf.

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Guggenheim Museum

True North

True North features the work of contemporary artists whose photographic or video-based work evokes the formal conventions of Northern Romantic landscape painting as well as its legacy in later nineteenth-century photography. Yet unlike their Romantic antecedents, the works in this exhibition are historically and politically self-reflexive and problematize the notion of a pure, unchangeable North. Rather than report a uniquely Northern essence or truth, this presentation is premised on the idea that our visions of the North are structured through our own varying positions. A fantastical place of fear, desire, refuge, conquest and decay, the North has played an increasingly important role in the work of contemporary artists interested in the socio-political issues of colonization and pollution, as well as aesthetic . . . . Hardback, 10 x 10 in. / 71 pgs / 23 color.

Text by Rebecca Solnit, Jennifer Blessing.

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Guggenheim Museum

Thannhauser

The Thannhauser Collection of the Guggenheim Museum

Bequeathed to the Guggenheim Museum by Justin K. Thannhauser, this sparkling collection features important works from the Impressionist, Post-Impressionist and early Modernist periods, including 32 paintings and works on paper by Picasso. In addition to the impeccable reproductions of every work in the collection, this book includes a fascinating new essay on Thannhauser, a leading art dealer in pre-World War II Europe whose family's gallery was the first to represent Picasso as well as the Blue Rider Group. This revised edition includes two essays on the period as well as a dozen insightful texts on the highlights of the collection, which include paintings by Cézanne, Degas, Gauguin, Renoir, van Gogh and, of course, Picasso. . . . . Hardcover, 9.5 x 12 in. / 224 pgs / 120 color / illustrated throughout.

Edited by Matthew Drutt. Essays by Jack Flam, Robert Rosenblum, Richard Schiff, Ann Dumas, Theodore Reff, Colin A. Bailey, Albert Boime, Beth Archer Brombert, Anne F. Collins, Elizabeth W. Easton, Michael Fitzgerald, Fred Licht, Joachim Pissarro, Belinda

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Guggenheim Museum

Haunted: Contemporary Photography, Video, Performance

Much of contemporary photography and video seems haunted by the past, by ghostly apparitions that are reanimated in reproductive media, as well as in live performance and the virtual world. By using dated, passé or quasi-extinct stylistic devices, subject matter and technologies, these arts can embody a melancholic longing for an otherwise unrecuperable past. Haunted: Contemporary Photography/Video/Performance examines the myriad ways by which photographic imagery is incorporated into recent art practices, and in the process underscores the unique power of reproductive media—while documenting a widespread contemporary obsession with accessing and retrieving the past. The works included in Haunted range from individual photographs and photographic series, to sculptures and paintings that incorporate photographic elements, to videos, film, performance and site-specific installations. Drawn . . . . Hbk, 9 x 11 in. / 208 pgs / 160 color.

Edited by Jennifer Blessing, Nat Trotman. Text by Jennifer Blessing, Peggy Phelan, Lisa Saltzman, Nancy Spector, Nat Trotman.

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Violette Editions

Louise Bourgeois: The Return of the Repressed

Psychoanalytic Writings

Louise Bourgeois (1911–2010) invented a new kind of language for sculpture--a language that was essentially psychoanalytic, uniquely capable of expressing oedipal struggle, ominous forces of repression, sexual symbolism and material uncanniness. Famed for some of the twentieth century’s most enduring works, such as The Destruction of the Father” (1974), Arch of Hysteria” (1993) and Maman” (1999), Bourgeois also disseminated her influence through her writings, collected in the 1998 volume Destruction of the Father/Reconstruction of the Father: Writings 1927–1997--originally published by Robert Violette, also the publisher of this new deluxe writings-cum-monograph two-volume set. Louise Bourgeois: The Return of the Repressed highlights the enduring presence of psychoanalysis as a motivational force and a site of exploration in the artist’s life and work. Selected . . . . Slip, Hbk, 2 vols., 7.5 x 10 in. / 500 pgs / 113 color.

Edited by Philip Larratt-Smith. Text by Louise Bourgeois, Elisabeth Bronfen, Donald Kuspit, Juliet Mitchell, Mignon Nixon, Paul Verhaeghe with Julie de Ganck, Meg Harris Williams.

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Le Dictateur Press

Toilet Paper: Issue 5

Made by Maurizio Cattelan in collaboration with fellow countryman Pierpaolo Ferrari, Toilet Paper 5 is a brilliant new creation from the aberrant, animated mind of the Italian-born provocateur, mischief-maker and macabre witness to our times. Published by Le Dictateur, this part artist’s book, part magazine contains no text; only full spreads of color photographs with imagery that often appropriates the slick production values of commercial photography to deliver dreamlike (or nightmarish) images that are as appropriate for the coffee table as they are for the WC. In an interview with Vogue Italia, Ferrari said that the magazine is born of a passion/obsession that Maurizio and I have in common. Each picture springs from an idea, often a simple one, and through . . . . Pbk, 8.25 x 11.75 in. / 40 pgs / illustrated throughout.

Edited by Maurizio Cattelan, Pierpaolo Ferrari.

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The Museum of Modern Art, New York

Foreclosed: Rehousing the American Dream

Foreclosed: Rehousing the American Dream is an exploration of new architectural possibilities for American cities and suburbs in the aftermath of the recent foreclosure crisis in the United States. During the summer of 2011, five interdisciplinary teams of architects, urban planners, ecologists, engineers and landscape designers were enlisted by The Museum of Modern Art, New York, and MoMA PS1 to envision new housing infrastructures that could catalyze urban transformation, particularly in the country’s suburbs. Drawing on ideas proposed in The Buell Hypothesis, a research publication prepared by the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University, each team focused on a specific location within a megaregion” to come up with inventive solutions for the future of . . . . Pbk, 8 x 10 in. / 188 pgs / 170 color.

Edited and with text by Barry Bergdoll, Reinhold Martin.

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Cicada Books

Draw Me A House

A Book of Colouring in, Ideas and Architectural Inspiration

Draw Me a House is a playbook for budding architects and anyone interested in the built environment. Illustrated by Thibaud Herem, it celebrates the primary delights of architecture, inviting people of all ages to color in, think about, doodle and engage with basic architectural elements. Both educational and entertaining, Draw Me a House takes the reader on a journey through architectural styles from Gothic church spires to contemporary eco-design, and out the other side to the world of outright fantasy. From completing the columns on the Parthenon to thinking up an alternative top to the Chrysler Building; from drawing a deluxe doghouse to designing a transport system for the year 2040, this book will serve as a springboard for the imagination--a . . . . Pbk, 8.5 x 11 in. / 240 pgs / 1 color / 300 b&w.

Drawings by Thibaud Herem.

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Fuel Publishing

Home-Made Europe

Contemporary Folk Artifacts

For this enchanting sequel to the critically acclaimed Home-Made: Contemporary Russian Folk Artifacts (2006), Russian artist Vladimir Arkhipov has travelled across Europe to further his collection. The objects he has found are made by everyday people inspired to create something themselves, rather than buying manufactured goods. Many have been made in pursuit of a hobby, or because the maker had the time and inclination to construct something personal. In other cases, the objects are more vital to the maker’s livelihood. Arkhipov’s archive includes hundreds of objects created with idiosyncratic functional qualities: an Austrian ski-bob made using an old bicycle frame; a metal strip full of spikes used to deter pigeons from landing on window ledges; a beautifully painted rocking-motorbike for children; . . . . Hbk, 5 x 8.25 in. / 272 pgs / 230 color.

By Vladimir Arkhipov. Edited by Damon Murray, Stephen Sorrell. Foreword by Jeremy Deller.

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Cicada Books

The Bike Owner's Handbook

Two wheels, two pedals, a seat and a set of handlebars: the bicycle is a beautifully simple means of transport, and its recently renewed popularity continues to soar in urban areas worldwide, with millions of people rediscovering its efficiency and portability. Culture makers such as Talking Heads frontman and artist David Byrne and the satirical blogger Bike Snob have popularized cycling as a lifestyle, and as major cities like Los Angeles and New York embark on major bike-lane construction projects, retailers are also stepping forward with a wide variety of clothing and accessories to accommodate the cyclist’s every conceivable need. The Bike Owner’s Handbook is an attractively designed guide for the millions of bicycle commuters who want to know the basics . . . . Flexi, 5.25 x 6.75 in. / 112 pgs / 130 b&w.

By Peter Drinkell. Illustrated by Phillip Smith.

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PictureBox

Jonas Wood: Interiors

Interiors follows Los Angeles-based painter Jonas Wood’s previous thematic monograph, Sports Book. In this new volume, Wood (born 1977) explores his longstanding fascination with intimate interiors, such as the houses he grew up in, his studio and other spaces of his everyday life. Wood renders these interiors with a disorienting combination of scrupulous exactitude and absolute flatness. Writing in The New York Times, Roberta Smith characterizes the eeriness of his style thus: his works negotiate an uneasy truce among the abstract, the representational, the photographic and the just plain weird.” Interiors offers a kind of self-portrait of the artist, as we get to know the arrangement of his living and work quarters and his various possessions, as they recur throughout the . . . . Hbk, 8.25 x 10.25 in. / 64 pgs / 70 color.

Text by Michael Ned Holte. Interview by Ana Vejzovic Sharp.

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Charta / Colby College Museum of Art

Alex Katz: Maine, New York

Maine/New York surveys three decades of paintings by Alex Katz (born 1927). A quintessential New York artist, Katz is also a part-time resident of rural Maine, and the subject matter of his paintings accordingly shifts from landscape to cityscape, from rural vignette to Manhattan interior. In this volume, published for an exhibition at Colby College Museum of Art--where the largest public collection of Katz’s resides--the pleasant haze of city afternoons is juxtaposed with the flickering greens of a rural path; the buzz of a fashionable social occasion with the dusk as it descends on a pond in the Maine woods. Along the way, we encounter the family members and friends who populate Katz’s paintings, cast in his distinctive treatments of light . . . . Hbk, 8.5 x 10.75 in. / 128 pgs / 60 color.

Text by Carter Ratcliff. Interview by Sharon Corwin.

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Kemper Museum of Contemporary Art

Lois Dodd: Catching the Light

Over the past 50 years, American painter Lois Dodd (born 1927) has been recording the quieter moments of everyday life on New York’s Lower East Side and in mid-coast Maine, infusing the modernist tradition of plein air painting with Shaker-like qualities of modesty, airiness and quiet elegance. Views from city windows, gentle scenes of washing lines in back gardens, the artist’s shadow on a summer lawn with her painting tools at the far edge of the image: these objects of the painter’s attention declare themselves while leaving room to breathe for both viewer and artist. Published on the occasion of the artist’s first museum retrospective at the Kemper Museum of Contemporary Art, Kansas City (which travels to Portland Museum of Art . . . . Clth, 9 x 11 in. / 136 pgs / 85 color.

Edited by Barbara O'Brien. Text by Alison Ferris, Barbara O’Brien, John Yau.

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Hatje Cantz

Frantisek Drtikol

Czech photographer Frantisek Drtikol (1883-1961) reinvented the genre of nude photography for the early twentieth century. Drtikol opened his Prague studio in 1907, and his nudes from this early period convey the dreamy eroticism of Art Nouveau and the foreboding accents of Prague Symbolism that he was to return to throughout his somewhat brief career (Drtikol abandoned photography for painting in 1935, and it was not until curator Anna Fárová's now legendary 1972 Prague exhibition that this work was rediscovered by a broader public). But Drtikol quickly absorbed into his photography the myriad new idioms of the interbellum years, and freighted his nudes with the dramatic lighting of silent film and the more austere geometric effects and dynamic poses of Futurism, . . . . Hbk, 9.5 x 12.25 in. / 101 pgs / 60 color.

Edited by Annette Kicken, Rudolf Kicken. Text by Anna Fárová, Vladimir Birgus.

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Hatje Cantz

Pierre Bonnard

Pierre Bonnard (1867–1947) concocted gentle deliriums of color in quiet domestic scenes: views of a table set for lunch, a garden view, a woman adjusting a bouquet or, most famously, the artist’s wife bathing, all infused with an infectious chromatic delight. It seemed to me that it was possible to translate light, forms and character using nothing but color,” he once wrote, without recourse to values.” Bonnard lavishes his domestic scenes with a palpable tenderness that later led to his style (and that of his colleague Eduoard Vuillard) being dubbed Intimiste.” In the 1880s Bonnard was a founding member of the Nabi group, along with his close friends Paul Sèrusier, Maurice Denis, Paul Ranson and Edouard Vuillard. Their Post-Impressionist aesthetic favored . . . . Hbk, 10.75 x 12.25 in. / 176 pgs / 117 color.

Text by Evelyn Benesch, Ulf Küster, et al.

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Poligrafa/Ivam /Fund Azcona

Julio González: Complete Works Volume I

1900-1912

This is the inaugural volume of a planned seven-volume catalogue raisonné on the Spanish sculptor Julio González (1876–1942). The son of a goldsmith in Barcelona, González studied painting and sculpture from an early age. Upon moving to Paris in 1900, he joined the company of fellow Spanish artists such as Juan Gris, Pablo Gargallo and Pablo Picasso. Today, González is primarily known for his work in welded iron. Abstracted figures such his Monsieur’ Cactus” (1939) show a connection to the Cubist sculptures of Picasso, with whom González worked closely from the 1920s onward. Credited with introducing Picasso to welded sculpture, González was also an important influence on the American Abstract Expressionist sculptor David Smith. This monumental project is published in collaboration . . . . Clth, 12 x 12 in. / 708 pgs / 720 color.

Edited by Tomás Llorens.

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Aperture

Between the Eyes: Essays on Photography and Politics

In an era of social confusion and visual pandemonium, David Levi Strauss tackles issues of photography and politics in a way that few critics today are courageous enough to attempt. The essays collected in Between the Eyes address topics ranging from propaganda and the imagery of dreams, to Sebastião Salgado’s epic social documents and the deeply personal photographic revelations of Francesca Woodman. Other issues broached here include the legitimacy of photographic imagery and the media frenzy surrounding the events of September 11, as well as essays on the work of Ania Bien, Miguel Rio Branco, Alfredo Jaar, Joel-Peter Witkin and others, plus an interview with painter Leon Golub (who worked from photographs). Reviewing the first edition of Between the Eyes, Publisher’s . . . . Pbk, 5.5 x 8.25 in. / 208 pgs / 28 b&w.

By David Levi Strauss. Introduction by John Berger.

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Luhring Augustine

Elad Lassry

The photographs, films and sculptures of Los Angeles-based artist Elad Lassry (born 1977) take multiple points of departure: the ultra-saturated imagery of commercial advertising, the seductive rhetoric of retail and the clean production of the film still. Lassry purposefully blurs distinctions between genres, media and sources, confronting our habits of processing and consuming of images. His radical blend of high and low, staged and appropriated, unique and mass-produced, leaves the viewer in a bewitched state of doubt as to the proper function of his work. Questioning origin, authorship and intentionality, Lassry’s disquieting compositions nonetheless glow with sensual, mesmerizing appeal. This catalogue is published for Lassry’s first solo exhibition at Luhring Augustine in New York, and includes 43 color images of both . . . . Hbk, 9 x 10.5 in. / 96 pgs / 43 color.

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Hatje Cantz

Jacqueline Hassink: The Table of Power 2

The financial crisis of 2009 shook the global economy to its very foundations. But has anything changed at the centers of power since then? Do executive suites look different than they used to? And what do they actually look like? In The Table of Power (1996), Jacqueline Hassink (born 1966) captured images of desks and conference-room tables at the largest multinational corporations in the world, and created one of the most important photo books of the twentieth century. With The Table of Power 2, Hassink takes a new look at the headquarters of the 50 banks, insurance companies and corporations that Fortune magazine lists as the most powerful players on the market today, such as Shell, BP and Volkswagen. With scientific . . . . Hbk, 10.5 x 12.5 in. / 224 pgs / 60 color / 20 b&w.

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