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ARTBOOK BLOGEventsStore NewsMuseum Stores of the MonthNew Title ReleasesStaff PicksImage GalleryBooks in the MediaExcerpts & EssaysArtbook InterviewsEx LibrisAt First Sight2025 Gift GuidesFeatured Image ArchiveEvents ArchiveDATE 11/19/2026 Rough Trade Berlin presents Melissa Auf der Maur launching 'My ’90s Rock Photographs' at PrachtwerkDATE 11/13/2026 Yvon Lambert presents the Paris launch of 'Melissa Auf der Maur: My ’90s Rock Photographs'DATE 11/10/2026 Rough Trade London presents Melissa Auf Der Maur in Conversation with Thurston MooreDATE 11/9/2026 Fashion Fiction presents 'The Cultures of Perfume' at Ace Hotel BrooklynDATE 11/9/2026 Rizzoli Bookstore presents the launch of 'Blue Velvet: A Polaroid Diary'DATE 11/8/2026 Artbook @ MoMA PS1 Bookstore presents Matthew López-Jensen and Chiquita Brujita on Tarot and Community BuildingDATE 11/8/2026 Pioneer Works presents "Scent and Seduction" with 'The Cultures of Perfume' author Saskia Wilson-BrownDATE 11/7/2026 Artbook @ Hauser & Wirth Los Angeles Bookstore presents Eirik Johnson launching 'Leviathan Rising'DATE 11/6/2026 Rizzoli Bookstore presents Saskia Wilson-Brown in conversation with Rachel Syme for the launch of 'The Cultures of Perfume'DATE 11/1/2026 A new edition of Mike Mandel's classic conceptual photobookDATE 10/31/2026 Halloween Horror, 2026DATE 10/31/2026 Halloween Horror from The Academy Museum of Motion PicturesDATE 10/29/2026 Brancusi's legendary Paris atelier, photographed by the artist himself | IMAGE GALLERY DATE 11/1/2026 A new edition of Mike Mandel's classic conceptual photobookFeatured image is reproduced from Eighteen Publications’ new, revised edition of Myself: Timed Exposures, Mike Mandel’s first-ever photobook, now featuring a gatefold, sewn sections, an open spine book block and a Swiss-bound cover. “For the past year self portraits have been my constant passion,” Mandel wrote in 1971. “At every opportunity I would fasten my camera to its tripod and steal from the house out into the insane world of everyday people, in hope of recording a bit of real fantasy.… The people react to my presence, to the buzzing machine a few feet away, to the words I have to say—suddenly, click! The machine has made its ‘decisive moment’ and only the film knows what latent treasures it owns; for I was busy being the subject matter and will have to wait until after processing to see what all really happened…” DATE 10/31/2026 Halloween Horror from The Academy Museum of Motion PicturesWhen it comes to cinematic realism and horror, you can’t do better than Stanley Kubrick’s 1980 masterpiece, The Shining. Pictured here, from Halloween Staff Pick The Horror Show, Jack Nicholson as family man Jack Torrance on his steady descent into madness. “Psychological horror’s appeal makes it deeply personal,” Tananarive Due writes, “which is why so many modern horror classics use the characters’ psychological issues, including those rooted in familial and spousal relationships, as the engine even when a supernatural element is also present. Stanley Kubrick’s The Shining, adapted from the novel by Stephen King, chronicles the mental breakdown of an alcoholic writer, Jack Torrance, as he is possessed by the spirits in a haunted hotel. Jack’s history of alcoholism and child abuse makes him vulnerable to malevolent entities. The fantastic horror imagery of creepy twin girls or an elevator gushing blood is unforgettable, but many viewers are equally terrified when they watch his wife, Wendy, discover that ‘All work and no play makes Jack a dull boy’ is the only sentence typed on page after page of Jack’s ‘novel’—a shocking illustration of his madness even before he picks up the axe.” DATE 10/29/2026 Brancusi's legendary Paris atelier, photographed by the artist himself“’Why write?’ Constantin Brancusi asked the author Robert Payne in 1949. ‘Why not just show the photographs?’ The photographs Brancusi had in mind were his own. By the time of his conversation with Payne, the seventy-three-year-old artist had long been dissatisfied with the efforts not only of writers but also of other photographers to represent or interpret his sculptures. This dissatisfaction had led him, decades earlier, to become the exclusive photographer of his own work and his late-life remark to Payne underscores his fierce protectiveness over how his sculpture met the public eye and on whose terms. Although Brancusi did not consider his photographs works of art, they served multiple purposes: They were circulated to clients and friends, published in books and magazines, and employed as a private means of studying variation, movement, and change. The resulting photographic corpus establishes him as one of the twentieth century’s great sculptor-photographers, and his embrace of the camera reflects his singular modernity and relationship to machine-age technology. This, even as he used photography to document works that aspired to timelessness, universality, and transcendence of the particularities of time and place.” So begins Anne Umland’s essay in Brancusi: The Artist and His Studio, MoMA’s gorgeous new collection of 136 duotone photographs taken by the artist over the course of four decades, published to accompany the landmark exhibition of Brancusi’s relocated Paris studio, on view now through February 2027 at the Museum. Pictured here, Bird in Space (1927, polished bronze), glass negative c. 1929. |
