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| | BOOK FORMAT
Clth, 10 x 11.5 in. / 168 pgs / 100 color. PUBLISHING STATUS
Pub Date 7/16/2024
Forthcoming DISTRIBUTION
D.A.P. Exclusive
Catalog: SPRING 2024 p. 89 PRODUCT DETAILS
ISBN 9781941366653 TRADE
List Price: $50.00 CDN $72.00 GBP £44.00 AVAILABILITY
Awaiting stock | TERRITORY
WORLD | EXHIBITION SCHEDULEWaltham, MA
Rose Art Museum, 02/09/23–07/02/23
Durham, NC
Nasher Museum of Art, 08/24/23–01/07/24
Queens, NY
Queens Museum, 05/19/24–09/22/24 | | THE SPRING 2024 ARTBOOK | D.A.P. CATALOG  | | Preview our Spring 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture. |
| | | Lyle Ashton Harris: Our first and last loveForeword by Gannit Ankori, Sally Tallant. Text by Nana Adusei-Poku, Roderick A. Ferguson, Ariel Goldberg. Conversation with Lyle Ashton Harris, Lauren Haynes, Caitlin Julia Rubin.
 Both personal and universal, Harris’ multimedia works weave together legacies of family dynamics, racial discrimination and queer historiesGathering photographs and installations from both his celebrated and lesser-known series, Our First and Last Love charts new connections across the artistic practice of New York–based artist Lyle Ashton Harris (born 1965). Inspired by his adolescence divided between New York City and Dar es Salaam, Harris explores the complexities of African and African American collective identity while forging his own personal narrative as a queer Black man. The retrospective exhibition chronicles Harris’ approach to representation and self-portraiture while tracing central themes and formal techniques in his work over the last 35 years. Central to this collection are Harris’ most recently completed pieces. Titled Shadow Works, these multimedia assemblages set photographic prints amid Ghanaian funerary textiles, shells, pottery and locks of the artist’s hair. In the exhibition and the corresponding catalog, the pieces function as starting points for thematic groups of Harris’ other works. Juxtaposed with handwritten notes and family photographs, these arrangements underscore Harris’ layered approach to his practice.
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|  | STATUS: Forthcoming | 7/16/2024 This title is not yet published in the U.S. To pre-order or receive notice when the book is available, please email orders @ artbook.com | |
| | | |  | Gregory R. Miller & Co./Queens Museum of Art/Rose Art MuseumISBN: 9781941366653
USD $50.00 | CAN $72 UK £ 44Pub Date: 7/16/2024
Forthcoming
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|  | Gregory R. Miller & Co.ISBN: 9780974364872
USD $75.00 | CAN $99 UK £ 65Pub Date: 10/31/2010
Active | In stock
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|  | Gregory R. Miller & Co.ISBN: 9780974364896
USD $50.00 | CAN $67.5 UK £ 45Pub Date: 6/1/2008
Active | In stock
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FORMAT: Clth, 10 x 11.5 in. / 168 pgs / 100 color.
LIST PRICE: U.S. $50.00
LIST PRICE: CANADA $72
GBP £44.00
ISBN: 9781941366653
PUBLISHER: Gregory R. Miller & Co./Queens Museum of Art/Rose Art Museum
AVAILABLE: 7/16/2024
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Forthcoming
AVAILABILITY: Awaiting stock
TERRITORY: WORLD | D.A.P. CATALOG: SPRING 2024 Page 89 | PRESS INQUIRIES
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| Lyle Ashton Harris: Our first and last love Published by Gregory R. Miller & Co./Queens Museum of Art/Rose Art Museum.
Foreword by Gannit Ankori, Sally Tallant. Text by Nana Adusei-Poku, Roderick A. Ferguson, Ariel Goldberg. Conversation with Lyle Ashton Harris, Lauren Haynes, Caitlin Julia Rubin. Both personal and universal, Harris’ multimedia works weave together legacies of family dynamics, racial discrimination and queer histories Gathering photographs and installations from both his celebrated and lesser-known series, Our First and Last Love charts new connections across the artistic practice of New York–based artist Lyle Ashton Harris (born 1965). Inspired by his adolescence divided between New York City and Dar es Salaam, Harris explores the complexities of African and African American collective identity while forging his own personal narrative as a queer Black man. The retrospective exhibition chronicles Harris’ approach to representation and self-portraiture while tracing central themes and formal techniques in his work over the last 35 years. Central to this collection are Harris’ most recently completed pieces. Titled Shadow Works, these multimedia assemblages set photographic prints amid Ghanaian funerary textiles, shells, pottery and locks of the artist’s hair. In the exhibition and the corresponding catalog, the pieces function as starting points for thematic groups of Harris’ other works. Juxtaposed with handwritten notes and family photographs, these arrangements underscore Harris’ layered approach to his practice.
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