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STAFF PICKS | FROM THE SHELVES

PRINT ORDER FORM   

AVERY LOZADA | DATE 3/1/2019

Just a few of the women who have blown our minds—in celebration of Women's History Month, 2019

Adrian Piper: A Synthesis of Intuitions 1965–2016The Museum of Modern Art, New York
Agnes MartinD.A.P./Tate
Anne Collier: Women with Cameras (Self Portrait)Karma, New York
Annette Messager: Word for WordD.A.P./Les Presses du Reel
Beatriz Milhazes: CollagesEditora Cobogó
Carolee Schneemann: Uncollected TextsPrimary Information
Cindy ShermanThe Museum of Modern Art, New York
Come Alive!: The Spirited Art of Sister CoritaFour Corners Books
Dorothy Iannone: You Who Read Me With Passion Now Must Forever Be My FriendsSiglio
Eva Hesse: One More than OneHatje Cantz
Frida Kahlo: Her PhotosRM
Georgia O'Keeffe: WatercolorsRadius Books/Georgia O'Keeffe Museum
Jill Freedman: Resurrection City, 1968Damiani
Karen Green: Frail SisterSiglio
Dorothea Lange: Migrant MotherThe Museum of Modern Art, New York
Louise Bourgeois: SpiralDamiani
Marilyn Minter: Pretty/DirtyGregory R. Miller & Co.
Marlene Dumas: The Image as BurdenTate/D.A.P.
Mary Heilmann: Looking at PicturesWhitechapel Gallery
Meret Oppenheim: Works in Dialogue from Max Ernst to Mona HatoumSkira
Mickalene Thomas: I Can’t See You Without MeWexner Center for the Arts
Modern Women: Women Artists at The Museum of Modern ArtThe Museum of Modern Art, New York
Nan Goldin: Diving for PearlsSteidl
Niki de Saint PhalleLa Fábrica/Guggenheim Museum Bilbao
See Red Women's WorkshopFour Corners Books
Sophie Calle: Rachel MoniqueEditions Xavier Barral
Susan Meiselas: MediationsDamiani
Tina Modotti: Photographer & RevolutionaryLa Fábrica
Yayoi Kusama: Festival of LifeDavid Zwirner Books
Yoko Ono: To the LightWalther König, Köln

Adrian Piper: A Synthesis of Intuitions 1965–2016Adrian Piper: A Synthesis of Intuitions 1965–2016

Published by The Museum of Modern Art, New York.
Edited by Christophe Cherix, Cornelia Butler, and David Platzker. With texts by Christophe Cherix, Cornelia Butler, David Platzker, and Adrian Piper. Backmatter compiled by Tessa Ferreyros

Published in conjunction with her most comprehensive exhibition yet, an exhibition that Holland Cotter of The New York Times claimed "made the museum feel like a life-engaged place, not the high-polish, content-muting one we’ve grown used to," this 350 page catalog presents more than 280 artworks that encompass the full range of Piper’s mediums: works on paper, video, multimedia installation, performance, painting, sound and photo-texts. Previously unpublished texts by the artist lay out significant events in her personal history and her deeply felt ideas about the relationship between viewer and art object. "Surveying the conceptual rigor that Piper applies to her minefield-slash-universe of work gave me a huge dose of critical pleasure," Lanka Tattersall writes in Artforum.

PUBLISHER
The Museum of Modern Art, New York

BOOK FORMAT
Hardcover, 9.5 x 12 in. / 352 pgs / 373 color.

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Catalog: SPRING 2018 p. 22   

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Agnes MartinAgnes Martin

Published by D.A.P./Tate.
Edited by Frances Morris, Tiffany Bell. Text by Marion Ackermann, Rachel Barker, Jacquelynn Baas, Tiffany Bell, Christina Bryan Rosenberger, Briony Fer, Lena Fritsch, Anna Lovatt, Frances Morris, Maria Müller-Schareck, Richard Tobin, Rosemarie Trockel.

Finally, a comprehensive monograph on the beloved abstract painter, Agnes Martin

PUBLISHER
D.A.P./Tate

BOOK FORMAT
Hardcover, 8.25 x 10.5 in. / 272 pgs / 160 color.

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Catalog: SPRING 2015 p. 178   

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Anne Collier: Women with Cameras (Self Portrait)Anne Collier: Women with Cameras (Self Portrait)

Published by Karma, New York.
Text by Lynne Tillman.

This book collects images that New York–based artist Anne Collier (born 1970) originally presented as a slideshow of 80 35mm slides depicting found images of female subjects in the act of taking self-portraits. Dating from the 1970s to the early 2000s, these relics of the analog age were collected by Collier, each image discarded by its original owner but finding its way back to relevance in Collier’s work. The slideshow consists of amateur snapshots of women photographing themselves with film cameras prior to the advent of the digital "selfie." Instead of circulating on social media, these abandoned images once existed for a private audience. The resulting work is steeped in a deep sense of loneliness, illustrating photography’s contentious relationship to memory, loss and self-representation. The book represents a kind of sequel to Collier's 2017 book Women with Cameras (Anonymous).



PUBLISHER
Karma, New York

BOOK FORMAT
Paperback, 10 x 10 in. / 168 pgs / 80 color.

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Catalog: SPRING 2019 p. 157   

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Annette Messager: Word for WordAnnette Messager: Word for Word

Published by D.A.P./Les Presses du Reel.
Edited by Marie-Laure Bernadac. Interviews with Harald Szeemann, Robert Storr, Bernard Marcadé and Suzanne Pagé.

Texts and words are of crucial importance to Annette Messager's work--for her, "words are images." And so words--at once autonomous from, parallel to, and the sources of her visual creativity--are woven throughout her production. She has looked directly at our diverse relationships to language in forms ranging from the early scrapbooks of the 1970s to the large sculpted words of the late 1990s, and others including personal diaries, letters, calligraphy, alphabets and primers. She works with the repeated, drawn, framed and sculpted word; newsprint, collage and montage of texts and photographs; and handwritten texts. Plays on words and palindromes turn up in her exhibition titles and, more recently, in her children's books. All of these uses of language stem as much from Dada and Surrealism as from the aesthetics of the banal and the everyday, and they give rise to unclassifiable texts, which call somewhere between a literature of the news item or photo-essay and poetic maxims for personal use. Messager's frequent recourse to copying down and to repetition then serves as a kind of exorcism: in those cases, writing is something like sewing, with a soothing function. The first section of Word for Word focuses on writing in Annette Messager's artworks. The second includes numerous texts published in magazines or catalogues, as well as unpublished notes on her work and personal reflections on art and life. All of her interviews from 1974 to the present are also included.

PUBLISHER
D.A.P./Les Presses du Reel

BOOK FORMAT
Hardcover, 7.75 x 10.25 in. / 416 pgs / 280 color / 20 bw.

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Catalog: SPRING 2006 p. 11   

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Beatriz Milhazes: CollagesBeatriz Milhazes: Collages

Published by Editora Cobogó.
Edited by Frédéric Paul. Interview by Richard Armstrong.

This is the first book on the collages of Brazilian artist Beatriz Milhazes (born 1960). During a residency in Brittany, in 2003, Milhazes offered chocolates and sweets to the art center team, asking them to return the wrapping papers afterward. From these the artist commenced a new project: her collages. Until this point, Milhazes had considered collage a secondary activity, a way of drafting her paintings. With time, her collage technique developed along its own path.
“Collages have a kind of dialogue with an imaginary journal,” she writes. “Collected papers come from a variety of interests: sometimes it’s an aesthetic attraction, but other times they’re part of a routine, such as with chocolate wrapping paper or cuttings remaining from existing impressions. That’s why composition in collage creates a dialogue that’s exclusive to collages.” As Frédéric Paul, the book’s editor, observes, by using disposable ingredients in her collages, Milhazes emphasizes the acceleration of cycles of taste. “The frivolity of sweets and shopping express the frivolous versatility of trend indicators. They are also, surely, an expression of the assumed decorative frivolity. Milhazes’s work has the extraordinary complexity of simple things and faces us with a breathtaking plastic evidence.”



PUBLISHER
Editora Cobogó

BOOK FORMAT
Hardcover, 8.75 x 9.5 in. / 240 pgs / 104 color.

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Catalog: SPRING 2019 p. 109   

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Carolee Schneemann: Uncollected TextsCarolee Schneemann: Uncollected Texts

Published by Primary Information.
Edited with text by Branden W. Joseph.

Uncollected Texts gathers out-of-print and unpublished early writings by groundbreaking artist Carolee Schneemann (born 1939).

Edited by art historian Branden W. Joseph, the texts span diverse formats: included are journal entries, criticism, poems, essays and performance notes culled primarily from short-run magazines such as Caterpillar, Film Culture, The Fox, Manipulations and Matter, as well as academic journals such as Performing Arts Journal and Art Journal and mainstream media outlets including the New York Times and the Village Voice.

The book serves as a companion to Schneemann’s two earliest books—Parts of a Body House Book and Cézanne, She Was a Great Painter—offering new perspectives on the artist’s life, work and ideas through many writings that have never been reproduced in their original form. It features Schneemann’s reflections on her own works, including “Meat Joy,” “Divisions and Rubble,” and “Kitch’s Last Meal.”



PUBLISHER
Primary Information

BOOK FORMAT
Paperback, 6 x 9 in. / 120 pgs / 12 color.

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Catalog: FALL 2017 p. 150   

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Cindy ShermanCindy Sherman

Published by The Museum of Modern Art, New York.
By Eva Respini. Text by Johanna Burton. Interview by John Waters.

Published to accompany the first major survey of Cindy Sherman’s work in the United States in nearly 15 years, this publication presents a stunning range of work from the groundbreaking artist’s 35-year career. Showcasing approximately 180 photographs from the mid-1970s to the present, including new works made for the exhibition and never before published, the volume is a vivid exploration of Sherman’s sustained investigation into the construction of contemporary identity and the nature of representation. The book highlights major bodies of work including her seminal Untitled Film Stills (1977–80); centerfolds (1981); history portraits (1989–90); head shots (2000–2002); and two recent series on the experience and representation of aging in the context of contemporary obsessions with youth and status. An essay by curator Eva Respini provides an overview of Sherman’s career, weaving together art historical analysis and discussions of the artist’s working methods, and a contribution by art historian Johanna Burton offers a critical re-examination of Sherman’s work in light of her recent series. A conversation between Cindy Sherman and filmmaker John Waters provides an enlightening view into the creative process.

Cindy Sherman is a ground-breaking American photographer, born in 1954. She began her "Film Stills" series at the age of 23, gaining early recognition, and has followed it with remarkable experiments in color photography. Her art has won her wide recognition and praise, and been collected and exhibited by major museums throughout the world since 1980. A major retrospective exhibition of her work was shown at The Museum of Modern Art, New York; the San Francisco Museum of Modern Art; the Walker Art Center, Minneapolis; and the Dallas Museum of Art. Sherman is the recipient of a MacArthur Foundation "genius" award and a John Simon Guggenheim Memorial Fellowship. She is represented by Metro Pictures gallery in New York.

Eva Respini is a former Curator in the Department of Photography at The Museum of Modern Art, New York where she contributed to numerous publications including Robert Heinecken: Object Matter (2014); Cindy Sherman (2012); and Into the Sunset: Photography’s Image of the American West (2009); Fashioning Fiction in Photography since 1990 (2004).

John Waters is an American filmmaker, actor, writer, and visual artist best known for his cult films, including "Hairspray", "Pink Flamingos", and "Cecil B. DeMented". He lives in Baltimore, Maryland.

Johanna Burton has served as the director of the graduate program at the Center for Curatorial Studies at Bard College.

PUBLISHER
The Museum of Modern Art, New York

BOOK FORMAT
Clth, 9.5 x 12 in. / 264 pgs / 153 color / 102 bw.

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Catalog: SPRING 2012 p. 3   

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Come Alive!: The Spirited Art of Sister CoritaCome Alive!: The Spirited Art of Sister Corita

Published by Four Corners Books.
Text by Julie Ault, Daniel Berrigan.

At 18, Corita Kent (1918-86) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a 35-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass. More recently, she has been increasingly recognized as one of the most innovative and unusual Pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and making some of the most striking--and joyful--American art of her era, all while living and practicing as a Catholic nun. This first study of her work, organized by Julie Ault on the 20th anniversary of Kent's death, with essays by Ault and Daniel Berrigan, is the first to examine this important American outsider artist's life and career, and contains more than 90 illustrations, many of which are reproduced for the first time, in vibrant, and occasionally Day-Glo, color.

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BOOK FORMAT
Paperback, 9.75 x 11.25 in. / 128 pgs / 100 color / 5 bw.

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Catalog: SPRING 2007 p. 62   

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Dorothy Iannone: You Who Read Me With Passion Now Must Forever Be My FriendsDorothy Iannone: You Who Read Me With Passion Now Must Forever Be My Friends

Published by Siglio.
Edited by Lisa Pearson. Text by Trinie Dalton.

For over five decades, Dorothy Iannone has been making exuberantly sexual and joyfully transgressive image–text works. Karen Rosenberg wrote of her in The New York Times: “High priestess, matriarch, sex goddess: the self-taught American artist Dorothy Iannone has been called all these things and more. Since the early 1960s she has been making paintings, sculptures and artist’s books that advocate ‘ecstatic unity,’ most often achieved through lovemaking.” Beginning with the famous “An Icelandic Saga,” in which Iannone narrates her journey to Iceland (where she meets Dieter Roth and leaves her husband to live with him), this singular volume traces Iannone’s search for “ecstatic unity” from its carnal beginnings in her relationships with Roth and other men into its spiritual incarnation as she becomes a practicing Buddhist. Reproducing several previously unpublished or long-out-of-print works in their entirety (such as Danger in Düsseldorf, The Whip, “An Explosive Interlude”), as well as longer excerpts from rarely-seen works like A Cookbook and Berlin Beauties, this volume gives readers the chance to read her work with sustained attention, and enjoy the sophistication of the stories she tells and the visual–textual embellishments that make them so irresistible.
Associated with Fluxus through her close friendships with Emmett Williams, Robert Filliou and Ben Vautier, as well as most well-known for her relationship with Dieter Roth, Dorothy Iannone (born 1933) nevertheless has her own distinct aesthetic style and substantive concerns. Her first major museum show in the U.S. came when she was 75 in 2008 at the New Museum, shortly after her “orgasm box” titled “I Was Thinking of You” was included in the Whitney Biennial in 2006, and she has recently attained more recognition with solo shows at the Camden Arts Centre, Palais de Tokyo and the Berlinischer Galerie.

PUBLISHER
Siglio

BOOK FORMAT
Paperback, 7.25 x 9 in. / 320 pgs / 95 color / 210 bw.

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Catalog: FALL 2014 p. 22   

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Eva Hesse: One More than OneEva Hesse: One More than One

Published by Hatje Cantz.
Edited by Hubertus Gassner, Brigitte Kölle, Petra Roettig. Text by Renate Petzinger, Tom Doyle, Doug Johns, Brigitte Kölle, Lucy Lippard, Robert Mangold, Sylvia Mangold, Cindy Nemser, Petra Roettig, Franz Erhard Walther.

Eva Hesse (1936–1970) was one of the foremost women artists of the twentieth century. Her artistic practice combined the seriality and reduction of 1960s Minimalism with emotion, sensuousness and physicality, while the transparency and transience of her unconventional materials also contributed greatly to her unique position in the art world of her day. From November 2013 onward, the Hamburger Kunsthalle is presenting the first solo exhibition of Hesse’s work in her native city. Hesse emigrated with her family via the Netherlands and England to the United States in 1938. They settled in New York City, where she later studied painting at the Cooper Union School of Art from 1954 to 1957, and then continued her studies in the master class of Josef Albers at the Yale School of Art and Architecture from 1957 to 1959. At the invitation of Friedrich Arnhard Scheidt, a German industrialist and art collector, and his wife Isabel, Hesse and her husband Tom Doyle spent a year in Kettwig an der Ruhr during 1964–1965. This period is regarded as a turning point in Hesse’s artistic practice. Drawing inspiration from the materials she found in an abandoned textile factory in Kettwig, she made her first three-dimensional artworks, and when she returned to New York she devoted herself exclusively to sculpture, creating fragile works in unconventional materials such as polyester, fiberglass and latex. Hesse died of a brain tumor in 1970, aged just 34. The exhibition at the Hamburger Kunsthalle focuses on the latter part of the artist’s career, a highly productive period in which she created a substantial number of sculptures and drawings.

PUBLISHER
Hatje Cantz

BOOK FORMAT
Paperback, 7.25 x 9.75 in. / 240 pgs / 138 color.

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Catalog: SPRING 2014 p. 31   

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Frida Kahlo: Her PhotosFrida Kahlo: Her Photos

Published by RM.
Edited by Pablo Ortiz Monasterio. Text by James Oles, Horacio Fernandez, Masayo Nonaka, Laura González, Mauricio Ortíz, Gerardo Estrada, Rainer Huhle, Gaby Franger.

When Frida Kahlo (1907-1954) died in 1954, her husband Diego Rivera asked the poet Carlos Pellicer to turn her family home, the fabled Blue House, into a museum. Pellicer selected some paintings, drawings, photographs, books and ceramics, maintaining the space just as Kahlo and Rivera had arranged it to live and work in. The rest of the objects, clothing, documents, drawings and letters, as well as over 6,000 photographs collected by Kahlo over the course of her life, were put away in bathrooms that had been converted into storerooms. This incredible trove remained hidden for more than half a century, until, just a few years ago, these storerooms and wardrobes were opened up. Kahlo's photograph collection was a major revelation among these finds, a testimony to the tastes and interests of the famous couple, not only through the images themselves but also through the telling annotations inscribed upon them. Frida Kahlo: Her Photos allows us to speculate about Kahlo's and Rivera's likes and dislikes, and to document their family origins; it supplies a thrilling and hugely significant addition to our knowledge of Kahlo's life and work.

PUBLISHER
RM

BOOK FORMAT
Hardcover, 6.75 x 9.5 in. / 524 pgs / 460 duotone.

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Catalog: SPRING 2010 p. 89   

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Georgia O'Keeffe: WatercolorsGeorgia O'Keeffe: Watercolors

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.



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Jill Freedman: Resurrection City, 1968Jill Freedman: Resurrection City, 1968

Published by Damiani.
Edited by Steven Kasher. Text by Jill Freedman, John Edwin Mason, Aaron Bryant.

This 50th-anniversary edition of Jill Freedman’s 1970 photo book documenting the climax of Dr. Martin Luther King's 1968 Poor People's Campaign—set in Resurrection City, a six-week, 3,000-person protest encampment on the Washington Mall—is "a masterpiece," according to Kirkus. "Her black-and-white prints are honest and stirring portraits of the ordinary people at the heart of this historic uprising," Rebecca Bengal writes in Vulture. "The reissue is timely. Inequity is starker than ever." —Holland Cotter, The New York Times.

PUBLISHER
Damiani

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Hardcover, 9.75 x 12 in. / 176 pgs / 141 bw.

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Karen Green: Frail SisterKaren Green: Frail Sister

Published by Siglio.

Karen Green's Frail Sister "is generous, a beautiful jewel excavated at great cost and with great endurance. It shines brightly and drips blood." —The Paris Review. Of this genre-smashing, feminist work by the author of Bough Down, Roxane Gay writes, "What a beautiful, strange book—found objects and fictional prose brought together to tell the real and imagined story of Constance Gale, through letters to her sister, letters from young men at war. From the beginning to the end of the book, we bear witness to a life, too-short but fully-lived. This is simply fascinating and gorgeously written, gorgeously assembled." Do not miss this moving book from the daring independent press, Siglio. Claudia Rankine calls it "a singular achievement that defies genre naming… a masterwork creating its own terms for existence—every page a marvelous and terrifying journey."

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Siglio

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Hardcover, 7.5 x 10 in. / 168 pgs / 200 color.

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Dorothea Lange: Migrant MotherDorothea Lange: Migrant Mother

Published by The Museum of Modern Art, New York.
Text by Sarah Hermanson Meister.

The US was in the midst of the Depression when Dorothea Lange (1895–1965) began documenting its impact through depictions of unemployed men on the streets of San Francisco. Her success won the attention of Roosevelt's Resettlement Administration (later the Farm Security Administration), and in 1935 she started photographing the rural poor under its auspices. One day in Nipomo, California, Lange recalled, she "saw and approached [a] hungry and desperate mother, as if drawn by a magnet." The woman's name was Florence Owens Thompson, and the result of their encounter was seven exposures, including Migrant Mother. Curator Sarah Meister's essay provides a fresh context for this iconic work.



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The Museum of Modern Art, New York

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Paperback, 7.25 x 9 in. / 48 pgs / 35 color.

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Louise Bourgeois: SpiralLouise Bourgeois: Spiral

Published by Damiani.
Text by Louise Bourgeois.

In materials as diverse as wood, steel, bronze, latex, marble, plaster, resin, hemp, lead, ink, pencil, crayon, woodcut, watercolor and gouache, Louise Bourgeois (1911–2010) investigates every imaginable manifestation of the spiral, from graphic patterns to graphite whorls, wobbly orbits to chiseled vortices, twisted columns to coiling snakes, staircases and pyramids. The cursive blue-paper word drawings also included, in English and French, complement the purely visual works by conveying the spirit of Bourgeois’ writing in extraordinary pictorial forms. Bourgeois called the spiral “an attempt at controlling the chaos. It has two directions. Where do you place yourself, at the periphery or at the vortex?” In another context, she has also stated “I would dream of my father’s mistress. I would do it in my dreams by wringing her neck. The spiral—I love the spiral—represents control and freedom.”



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Damiani

BOOK FORMAT
Clth, 8.75 x 11.75 in. / 84 pgs / illustrated throughout.

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Marilyn Minter: Pretty/DirtyMarilyn Minter: Pretty/Dirty

Published by Gregory R. Miller & Co..
Text by Bill Arning, Elissa Auther, Nick Flynn, K8 Hardy, Richard Hell, Colby Keller, Eileen Myles, Jenni Sorkin, Neville Wakefield. Interview by Catherine Morris, Linda Yablonsky.

Marilyn Minter's raucous deconstruction of glamour in favor of earthy feminine sexuality

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Gregory R. Miller & Co.

BOOK FORMAT
Hardcover, 9.75 x 11 in. / 176 pgs / illustrated throughout.

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Marlene Dumas: The Image as BurdenMarlene Dumas: The Image as Burden

Published by Tate/D.A.P..
Edited by Leontine Coelewij, Kerryn Greenberg, Helen Sainsbury, Theodora Vischer. Text by Leontine Coelewij, Colm Toibin. Interview by Theodora Vischer.

The definitive catalogue on contemporary painter Marlene Dumas, with more than 100 museum-quality reproductions of her most important paintings as well as previously unpublished early works and writings

Marlene Dumas is one of the most prominent and influential painters working today. In an era dominated by the mass media and a proliferation of images, her work is a testament to the meaning and potency of painting. Dumas draws on her expansive visual archive and the nuances of language to create intense, psychologically charged works which explore themes such as sexuality, love, death and guilt, often referencing art history and current affairs. Her paintings and drawings are characterized by their extraordinary expressiveness and sometimes controversial subject matter. This fully illustrated exhibition catalogue accompanies the major exhibition at the Tate Modern, the Stedelijk Museum and the Fondation Beyeler. Surveying the artist's oeuvre from the mid-70s to the present, it features over 100 of her most important paintings and drawings alongside lesser-known works from the early period of her career

The book also includes a new interview with the artist; extracts from previously published but lesser-known texts (some available in English for the first time); and a new short story from prize-winning author Colm Tóibín written in response to the paintings. Essays and texts from a wide range of contributors examine the key themes and motifs in her work and reflect on Dumas' entire career.

Born in Cape Town, South Africa, in 1953, Marlene Dumas has lived in Amsterdam since 1976. Over the last three decades she has had numerous solo exhibitions throughout Europe and the U.S., including shows at The Institute of Contemporary Art, Boston; the Centre Georges Pompidou, Paris; The Museum of Contemporary Art, Los Angeles; and The Museum of Modern Art, New York.



PUBLISHER
Tate/D.A.P.

BOOK FORMAT
Paperback, 9.25 x 12 in. / 196 pgs / 200 color.

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Mary Heilmann: Looking at PicturesMary Heilmann: Looking at Pictures

Published by Whitechapel Gallery.
Edited with text by Lydia Yee. Text by Briony Fer, Mary Heilmann.

Mary Heilmann pioneered the infusion of abstract painting with craft tradition and pop culture

PUBLISHER
Whitechapel Gallery

BOOK FORMAT
Hardcover, 9.25 x 10.75 in. / 176 pgs / 100 color.

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Meret Oppenheim: Works in Dialogue from Max Ernst to Mona HatoumMeret Oppenheim: Works in Dialogue from Max Ernst to Mona Hatoum

Published by Skira.
Edited by Guido Comis, Maria Giuseppina Di Monte.

Meret Oppenheim (1913–85) is one of the most recognized 20th-century artists. This catalog examines her entire career, from the 1930s to the late works, revealing the creative network of relationships she nurtured with her peers during her time in Paris. Man Ray, Marcel Duchamp, Max Ernst, Alberto Giacometti, Hans Arp and others are documented in this publication through some of their most significant works.

What emerges is the extent to which the artist influenced the Surrealist vocabulary in which objects turn into fetishes, oneiric and erotic fantasies intermingle and women are seen as innocent or evil, enveloped in mysterious nature. Her creative freedom and the extraordinary evocative power of her works have made her a key figure for many generations of artists, as can be seen here through parallels with creations by Daniel Spoerri, Birgit Jürgenssen, Robert Gober and Mona Hatoum.



PUBLISHER
Skira

BOOK FORMAT
Hardcover, 9 x 11 in. / 224 pgs / 144 color.

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Mickalene Thomas: I Can’t See You Without MeMickalene Thomas: I Can’t See You Without Me

Published by Wexner Center for the Arts.
Foreword by Sherri Geldin. Text by Nicole R. Fleetwood, Michael Goodson, Beverly Guy-Sheftall, Antwaun Sargent.

Presenting paintings of some of the artist's key models and muses, I Can't See You Without Me illuminates the work of Brooklyn painter Mickalene Thomas (born 1971). Culling from art history and popular culture, Thomas creates scintillating portraits that deconstruct the highly charged connections between sitter, artist and viewer. Whether depicted as classically composed 19th-century odalisques, Afro-adorned vixens of blaxploitation films or as a powerful maternal figure yearning for social mobility, the recurring models in Thomas' compositions (almost exclusively women of color) convey a spirit of strength and self-confidence. Across this archetypal array, it is both their contradictions and kinships that make the black female body such fertile terrain for the artist's ongoing investigations. By casting herself, her late mother and other formidable women in her life as models, muses and collaborators, Thomas particularizes her distinctive oeuvre of portraiture. Focused yet expansive, the catalog both reasserts and further contextualizes issues of identity, sexuality and agency in Thomas' work that have only become more nuanced and palpable over time.



PUBLISHER
Wexner Center for the Arts

BOOK FORMAT
Paperback, 8.5 x 11 in. / 128 pgs / 40 color.

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Modern Women: Women Artists at The Museum of Modern ArtModern Women: Women Artists at The Museum of Modern Art

Published by The Museum of Modern Art, New York.
Edited by Cornelia Butler, Alexandra Schwartz. Introductions by Cornelia Butler, Griselda Pollock, Aruna D'Souza.

"A big, deep, feisty book of essays, several years in the making" —Holland Cotter, The New York Times

PUBLISHER
The Museum of Modern Art, New York

BOOK FORMAT
Hardcover, 9 x 10.5 in. / 512 pgs / 400 color.

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Catalog: SPRING 2010 p. 74   

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Nan Goldin: Diving for PearlsNan Goldin: Diving for Pearls

Published by Steidl.
Text by Nan Goldin, Lotte Dinse, Glenn O’Brien.

"Getting a good picture is like diving for pearls. You take a thousand pictures to get a good one."--Nan Goldin

PUBLISHER
Steidl

BOOK FORMAT
Clth, 9.25 x 9 in. / 208 pgs / 169 color.

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Niki de Saint PhalleNiki de Saint Phalle

Published by La Fábrica/Guggenheim Museum Bilbao.
Text by Bloum Cardenas, Camille Morineau, Catherine Francblin, et al.

A dazzling exploration of Niki de Saint Phalle's energetic, sensual, and vibrantly colorful sculptures, gardens, and paintings

PUBLISHER
La Fábrica/Guggenheim Museum Bilbao

BOOK FORMAT
Hardcover, 10 x 11.75 in. / 368 pgs / illustrated throughout.

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See Red Women's WorkshopSee Red Women's Workshop

Feminist Posters 1974–1990

Published by Four Corners Books.
Foreword by Sheila Rowbotham. Text by Prudence Stevenson, Susan Mackie, Anne Robinson, Jess Baines.

"Girls are powerful": the ‘70s feminist posters of See Red Women’s Workshop
A feminist silkscreen poster collective founded in London in 1974 by three former art students, the See Red Women’s Workshop grew out of a shared desire to combat sexist images of women and to create positive and challenging alternatives. Women from different backgrounds came together to make posters and calendars that tackled issues of sexuality, identity and oppression. With humor and bold, colorful graphics, See Red expressed the personal experiences of women as well as their role in wider struggles for change.
Written by See Red members, detailing the group’s history up until the closure of the workshop in 1990, and with a foreword by celebrated feminist historian Sheila Rowbotham, See Red Women’s Workshop features all of the collective’s original screenprints and posters. Confronting negative stereotypes, questioning the role of women in society, and promoting women’s self-determination, the power and energy of these images reflect an important and dynamic era of women’s liberation—with continued relevance for today.

PUBLISHER
Four Corners Books

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Paperback, 8.75 x 12.25 in. / 184 pgs / 90 color / 25 bw.

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Sophie Calle: Rachel MoniqueSophie Calle: Rachel Monique

Published by Editions Xavier Barral.
Text by Sophie Calle, Monique Szyndler.

The haunting story of Sophie Calle’s mother, told through diary excerpts and family photographs
“She was called successively Rachel, Monique, Szyndler, Calle, Pagliero, Gonthier, Sindler,” reads the first lines of Sophie Calle: Rachel Monique, embroidered on the cover. “My mother liked people to talk about her. Her life did not appear in my work, and that annoyed her. When I set up my camera at the bottom of the bed in which she lay dying—fearing that she would pass away in my absence, whereas I wanted to be present and hear her last words—she exclaimed, ‘Finally.’”
Sophie Calle: Rachel Monique tells the story of Monique Szyndler, Sophie Calle’s mother who died in 2007, through diary excerpts and photographs selected by the artist from family albums. Described as “haunting” and “a mystery novel that tirelessly searches for a missing person,” the Rachel Monique project honors a daughter’s complicated relationship with her mother and the artist’s deeply felt grief.
This volume, presenting Calle’s installation of Rachel Monique at the Palais de Tokyo, was designed in close collaboration with the artist. The cover text is embroidered to create a precious object, and all of the texts relating to the installation are beautifully embossed. Sophie Calle: Rachel Monique is a highly personal and moving book, intimate and universal in its expressions of mourning and memory.

Sophie Calle (born 1953) creates works exploring the tensions between the observed, the reported, the secret and the unsaid. She has mounted solo shows at major museums across the world and represented France at the Venice Biennale in 2007, where her film of her mother’s deathbed, Couldn’t Capture Death, premiered.

PUBLISHER
Editions Xavier Barral

BOOK FORMAT
Clth, 6.75 x 9.5 in. / 208 pgs / 38 color / 57 bw.

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Susan Meiselas: MediationsSusan Meiselas: Mediations

Published by Damiani.
Foreword by Carles Guerra, Marta Gili. Text by Ariella Azoulay, Eduardo Cadava, Carles Guerra, Marianne Hirsch, Kristen Lubben, Isin Onol, Pia Viewing.

Published to accompany the groundbreaking Magnum photographer's career retrospective at the Jeu de Paume and SFMOMA, this volume presents works from the 1970s through the present. A PDN Notable Photo Book 2018 reviewed in Juxtapoz, New York Magazine, The New York Times LENS, Dazed, Huck and Mother Jones, this text-heavy catalog "shows the range of Meiselas’ subjects, from carnival strippers, girls in her Little Italy neighborhood in New York (the 'Prince Street Girls'), a refuge for women in England and the aftermath of the Kurdistan genocide in 1991." —Hyperallergic

PUBLISHER
Damiani

BOOK FORMAT
Hardcover, 7 x 9.5 in. / 184 pgs / illustrated throughout.

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Tina Modotti: Photographer & RevolutionaryTina Modotti: Photographer & Revolutionary

Published by La Fábrica.
By Margaret Hooks.

Back in Print

PUBLISHER
La Fábrica

BOOK FORMAT
Paperback, 6 x 9 in. / 288 pgs / 130 bw.

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Yayoi Kusama: Festival of LifeYayoi Kusama: Festival of Life

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.

PUBLISHER
David Zwirner Books

BOOK FORMAT
Hardcover, 9.75 x 12 in. / 152 pgs / 65 color.

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Yoko Ono: To the LightYoko Ono: To the Light

Published by Walther König, Köln.
Foreword by Yoko Ono. Text by Alexandra Munroe. Chrissie Iles. Interview by Julia Peyton-Jones, Hans Ulrich Obrist.

As a pioneering conceptual artist, performance artist, film-maker, poet, musician, writer and peace activist for over five decades, Yoko Ono (born 1933) has influenced several generations of artists, musicians and cultural workers across the globe. Throughout her career, Ono has explored an incredible range of media, coining new kinds of artistic genres--most notably with her instruction pieces, which she began making in the 1950s and continues to devise today. Yoko Ono: To the Light accompanies the artist’s major 2012 overview at the Serpentine Gallery in London (a city to which she has longstanding ties). In her introduction, Ono explains the book and show’s title: “We are now at the 13th hour, facing the future together in which we may destroy ourselves or go on to create our heaven on earth. For the Serpentine Gallery, I selected pieces which had the strongest vibration to take us to the light.” In accord with this utopian emphasis, Ono is also presenting #smilesfilm, a worldwide participatory project, as part of her exhibition. Conceived as a way of connecting people across the world, users are invited to upload images of their smiles via Twitter and Instagram, creating a global string of smiles. Included in this volume are reproductions of installations, films and performances, plus archival material relating to several key early works. Yoko Ono: To the Light is a concise introduction to the vast scope of this era-defining artist’s many endeavors.

PUBLISHER
Walther König, Köln

BOOK FORMAT
Paperback, 8.75 x 9.75 in. / 96 pgs / 4 color / 40 bw.

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DATE 10/17/2018

Monster Mash!

DATE 9/12/2018

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Gay Pride!

DATE 8/10/2017

Back to School

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Gifts for Dads!

DATE 3/8/2017

Black Mountain

DATE 2/5/2017

POSTERS!

DATE 9/21/2016

Paris in Print

DATE 8/5/2016

DATE 8/5/2016

VIVA BRASIL!

DATE 6/27/2016

City of Angels

DATE 6/20/2016

Free to Love

DATE 5/31/2016

Summer of Love

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Chris Killip Booklist


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