Published by The Museum of Modern Art, New York. By Deborah Wye.
This first thorough survey of Bourgeois’ prints and books orients these works within her broader practice
Louise Bourgeois: An Unfolding Portrait explores the prints and books of the celebrated sculptor. This little-known body of work is vast in scope—numbering some 1,200 individual compositions—and highly significant within her larger practice. These works encompass the same themes and motifs that occupied Bourgeois throughout her career, and they are explored here within the context of related sculptures, drawings and early paintings. This investigation sheds light on Bourgeois’ creative process overall, most vividly through the evolving print states and variants that led to her final compositions; seeing these sequences unfold is akin to looking over the artist’s shoulder as she worked.
Published in conjunction with an exhibition at The Museum of Modern Art, this catalog presents more than 270 prints and books, organized thematically, and includes an essay that traces Bourgeois’ involvement with these mediums within the broader developments of her life and career. It also emphasizes the collaborative relationships that were so fundamental to these endeavors. Included are interviews with Bourgeois’ longtime assistant, a printer she worked with side-by-side at her home/studio on 20th Street in New York and the publisher who, in the last decade of her life, encouraged her to experiment with innovative prints that broke the traditional boundaries of the medium. The volume is rounded out with a chronology and bibliography that focus on prints and illustrated books while also providing general background on Bourgeois’ life and art.
Born in Paris in 1911, Louise Bourgeois was raised by parents who ran a tapestry restoration business. She met Robert Goldwater, an American art historian, in Paris and they married and moved to New York in 1938. Early on, Bourgeois focused on painting and printmaking, turning to sculpture only in the later 1940s. In 1982, at 70 years old, Bourgeois finally took center stage with a retrospective at The Museum of Modern Art. She died in New York in 2010, at the age of 98.
Published by David Zwirner Books. Text by Jenni Sorkin.
"Kusama's vitality is infectious." –Roberta Smith
In a unique style that is both sensory and utopian, Yayoi Kusama's work—which spans paintings, performances, room-size presentations, sculptural installations, literary works, films, fashion, design and interventions within existing architectural structures—has transcended some of the most important art movements of the second half of the 20th century, including pop art and minimalism. As Roberta Smith wrote in the New York Times, "These paintings form a great big infinity room of their own, but one in which each part is also an autonomous work of art, its own piece of wobbly, handwrought infinity … their vitality is infectious."
Yayoi Kusama: Festival of Life documents the artist's exhibition at David Zwirner's Chelsea location in New York in late 2017, featuring a selection of paintings from her iconic My Eternal Soul series, new large-scale flower sculptures, a polka-dotted environment and two Infinity Mirror Rooms. The monograph includes new scholarship on the artist by Jenni Sorkin, as well as a special foldout poster.
Yayoi Kusama (born 1929) presented her first solo show in her native Japan in 1952. Her work has since been featured widely in both solo and group presentations. In the mid-1960s, the artist established herself in New York by staging groundbreaking and influential happenings, events and exhibitions. Her work gained widespread recognition in the late 1980s after a number of international solo exhibitions, including shows at the Center for International Contemporary Arts, New York, and the Museum of Modern Art, Oxford, England, both taking place in 1989. She represented Japan in 1993 at the 45th Venice Biennale, to much critical acclaim.
Published by Guggenheim Museum Publications. Edited with text by Tracey Bashkoff. Contributions by Tessel M. Bauduin, Daniel Birnbaum, Briony Fer, Vivien Greene, David Max Horowitz, Andrea Kollnitz, Helen Molesworth, Julia Voss.
One of Roberta Smith's "Best Art Books of 2018" for The New York Times, the Guggenheim's Hilma af Klint is, indeed, exemplary. Published to accompany the most widely reviewed exhibition of the year—with major features in more than 30 major outlets, including The Washington Post, The Economist, Artforum, Hyperallergic, New York, the New Yorker, the BBC and WNYC—this is a "gorgeous book," according to Vulture's Jerry Saltz. "The implications of these works are not only gargantuan, but also infinitely pleasurable to look at. And as written about in this wonderful volume, great to read about. By the time you put down this book, Hilma af Klint will be embedded in your visual library forever."
Published by JRP|Ringier. Edited with text by Heike Munder. Text by Dorota Biczel, Teresa Burga, Julieta González, Miguel A. López, Kalliopi Minioudaki, et al.
Encompassing paintings and environments in the vein of pop art, as well as conceptual drawings and cybernetic installations, the oeuvre of Peruvian artist Teresa Burga (born 1935) highlights the individual's ability to influence social conditions. Her early attraction to conceptual art led her to become a founding member of the Peruvian avant-garde movement Grupo Arte Nuevo (1966–68). In 1968, as a Fulbright scholar, Burga left Peru to study at the Art Institute of Chicago, where she developed her mature pop-conceptual practice, moving away from painting to produce installations, research-based projects and happenings. This volume provides an overview of her work from the 1960s to the present, reflecting on Burga's strategies and themes.
Published by Centre Pompidou. Edited by Michel Gauthier. Text by Michel Gauthier, Monique Lévi-Strauss, Cécile Godefroy, Mathilde Marchand.
A beloved maverick of American art, Hicks has been working at the intersection of art, craft and architecture for more than 50 years
With works ranging from tapestry to sculptures, from architectural decoration to installations, Sheila Hicks is a truly legendary figure of textile and installation art. A Hicks piece may deploy traditional fibers like cotton, wool and silk alongside, for example, porcupine quills, feathers or steel fibers; equally unexpected is the often monumental scale of her works, which frequently respond to the architecture surrounding them.
An American who has lived and worked in Paris since 1964, Hicks has traveled through five continents, visiting Mexico, France, Morocco, India, Chile, Sweden, Israel, Saudi Arabia, Japan and South Africa, to develop relationships with designers, artisans, industrialists, architects, politicians and cultural leaders in the creation of these fabulous and unique works that blur boundaries between craft and art in ways that now seem prescient of today’s broader demolition of such hierarchies.
All facets of the artist’s extraordinary six-decade career are surveyed in this catalog, published for her exhibition at the Centre Pompidou in Paris. Through a broad thematic approach, the book presents around 130 works and previously unpublished material, providing the most comprehensive overview of her work ever published.
Sheila Hicks was born in Hastings, Nebraska, in 1934 and received her BFA and MFA degrees from Yale University (where she studied under Josef Albers, and where Eva Hesse was a fellow student). She received a Fulbright scholarship in 1957–58 to paint in Chile. While in South America she developed her interest in working with fibers. After founding workshops in Mexico, Chile, and South Africa, and working in Morocco and India, she now divides her time between her Paris studio and New York.
PUBLISHER Centre Pompidou
BOOK FORMAT Hardcover, 7.5 x 10.5 in. / 168 pgs / 145 color.
PUBLISHING STATUS Pub Date 2/27/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018 p. 19
PRODUCT DETAILS ISBN 9782844268150TRADE List Price: $49.95 CDN $67.50
AVAILABILITY In stock
in stock $49.95
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by Skira. Edited by Paul Schimmel,?Jenni Sorkin. Text by Elizabeth Smith, Anne Wagner.
Accompanying the most comprehensive exhibition of postwar abstract sculpture by women artists to date, Revolution in the Making traces the ways in which women artists deftly transformed the language of sculpture in the 20th Century. The volume teases out multiple strains of proto-feminist practices, characterized by abstraction and repetition, which rejected the singularity of a so-called 'masterwork'.
Divided into four sections, the book features approximately thirty artists and nearly 100 works in total: the postwar era (the late 1950s) including such historically important predecessors as Ruth Asawa, Lee Bontecou, Louise Bourgeois, Claire Falkenstein, and Louise Nevelson; the 1960s and 1970s, highlighting a generation of post-minimalist artists who ignited a revolution in their use of process-oriented materials and methods; the 1980s and 1990s, the period that moved beyond three-dimensional objects toward architectonic works characterized by structure and design; and post-2000 works by artists who created installation-based environments, embraced domestic materials and adopted craft as an embedded discourse.
Published by Fundación Colección Thyssen-Bornemisza. Text by Marta Ruiz del Árbol, Cécile Godefroy, Matteo de Leeuw-de Monti.
The many talents of the Parisian avant-garde’s Renaissance woman
Sonia Delaunay: Art, Design, Fashion provides a unified vision of the modernist pioneer’s work in painting, theatrical sets, advertising, interiors, fashion and textiles. Published for a landmark exhibition at Museo Thyssen-Bornemisza in Madrid, and drawing on new scholarship that emphasizes the multidisciplinary character of her art, it reproduces pieces loaned from public institutions such as the Centre Pompidou, the Bibliothèque nationale de France, the Musée de la Mode de Paris and the Museo Reina Sofía in Madrid, as well as from international private collections.
Sonia Delaunay (1885–1979) was raised in St. Petersburg, in Russia. After a brief period of study in Germany, she moved to Paris in 1905, and began painting in the Fauve style of Matisse and Derain. In 1909 she met Robert Delaunay, and together they devised a brighter version of Cubism that their friend the poet and art critic Guillaume Apollinaire termed Orphism. Also among their friends was the poet Blaise Cendrars; one of Delaunay’s best-known works is her 1913 accordion-fold artist’s book collaboration with Cendrars, Prose of the Trans-Siberian Railway. In addition to her prolific 75-year painting career, she created brilliant textiles and fashion works for nearly three decades.
PUBLISHER Fundación Colección Thyssen-Bornemisza
BOOK FORMAT Hardcover, 8.5 x 9.5 in. / 236 pgs / 184 color / 52 bw.
PUBLISHING STATUS Pub Date 10/24/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018 p. 18
PRODUCT DETAILS ISBN 9788417173012TRADE List Price: $49.95 CDN $67.50 GBP £44.99
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Kant. Edited by Anežka Šimková, Terezie Zemánková. Preface by Roger Cardinal. Text by Eva Ko?átková, Terezie Zemánková, Manuel Anceau, Pascale Jeanneret, Bruno Decharme. Interview by Pavel Konecný.
“I am growing flowers that are not grown anywhere else”: the fantastical botanica of an Art Brut genius
The work of Czech painter, draftsman and pastel artist Anna Zemánková (1908–86) defies easy definition and categorization. As a self-taught artist, Zemánková tends to be described as Art Brut, but her Art Brut is of a mysterious and magical strain. Her work gives the viewer the impression of entering a herbarium of fantastical extraterrestrial plants or a unique, imaginary world, always created by the artist using newly discovered and often surprising techniques.
This extraordinary new publication presents a representative selection of Zemánková’s drawings, collages, objects and assemblages, accompanied by texts written by experts and researchers including Roger Cardinal, Eva Kotátková, Terezie Zemánková, Manuel Anceau, Pascale Jeanneret and Bruno Decharme. These are not staid scholarly essays; each contributor tries in their own way to understand the inherent mystery of Zemánková’s art. Readers are invited to join them on a journey through Zemánková’s visionary work.
Published by Radius Books/Georgia O'Keeffe Museum. Text by Amy Von Lintel.
Georgia O'Keeffe's turn toward abstraction: luscious watercolors of the Texan landscape and her own body
Georgia O’Keeffe: Watercolors catalogues the first major exhibition of the nearly 50 watercolors created by O’Keeffe between 1916 and 1918, while she lived in Canyon, Texas. These years mark a period of radical innovation for the artist, during which she firmly established her commitment to abstraction. While her work in Texas is often understood as merely a prelude to her career in New York City, these watercolors and drawings mark a seminal stage in O’Keeffe’s artistic formation, representing the pivotal intersection of her disciplined art practice and her allegiance to the revolutionary techniques of her mentor, Arthur Wesley Dow.
O’Keeffe’s watercolors explore the texture and landscape of the Texas desert and the artist’s own body in an exceptionally fragile and sensitive medium, representing a substantial achievement in their own right. These early works also relate to O’Keeffe’s large-scale oil paintings, which in their handling of color and texture in some ways seem to aspire to the condition of watercolor. Designed to emphasize direct contact with these beautiful works, Watercolors features full-scale color reproductions of the paintings, most of which are approximately 8x12 inches in scale, offering a powerful testament to the significance of the watercolors in O’Keeffe’s creative evolution. Also included (in a wallet at the rear of the book) is a lengthy essay by Amy Von Lintel featuring archival photographs of O'Keeffe from these years.
Georgia O’Keeffe (1887–1986) is best known for her distinctive paintings of flowers and landscapes which applied a precise, often hard-edged abstract language to evocative natural forms. Dubbed the "mother of American modernism," O’Keeffe produced more than 1,000 artworks in a career of more than 60 years.