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STAFF PICKS | FROM THE SHELVES

PRINT ORDER FORM   

AVERY LOZADA | DATE 3/1/2020

Staff Picks for Women's History Month

See Red Women's WorkshopSee Red Women's Workshop
My Mother LaughsMy Mother Laughs
The New Woman's Survival CatalogThe New Woman's Survival Catalog
Women in TreesWomen in Trees
More Women in TreesMore Women in Trees
Hilma af Klint: Paintings for the FutureHilma af Klint: Paintings for the Future
Louise Bourgeois: The Spider and the TapestriesLouise Bourgeois: The Spider and the Tapestries
Nan Goldin: The Other SideNan Goldin: The Other Side
Dorothea Lange: Words & PicturesDorothea Lange: Words & Pictures
Graciela Iturbide’s MexicoGraciela Iturbide’s Mexico
Phyllis Galembo: Mexico Masks RitualsPhyllis Galembo: Mexico Masks Rituals
Georgia O'Keeffe: WatercolorsGeorgia O'Keeffe: Watercolors
Louise Bourgeois: SpiralLouise Bourgeois: Spiral
Agnes MartinAgnes Martin
Kiki SmithKiki Smith
Cindy Sherman: The Complete Untitled Film StillsCindy Sherman: The Complete Untitled Film Stills
Cindy ShermanCindy Sherman
Come Alive!: The Spirited Art of Sister CoritaCome Alive!: The Spirited Art of Sister Corita
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
Mickalene Thomas: I Can’t See You Without MeMickalene Thomas: I Can’t See You Without Me
Faith RinggoldFaith Ringgold
Beyond Mammy, Jezebel & SapphireBeyond Mammy, Jezebel & Sapphire
Tarsila do Amaral: Cannibalizing ModernismTarsila do Amaral: Cannibalizing Modernism
Eva Hesse: Oberlin DrawingsEva Hesse: Oberlin Drawings
Agnes Denes: Absolutes and IntermediatesAgnes Denes: Absolutes and Intermediates
I'm a Fighter: Images of Women by Niki de Saint PhalleI'm a Fighter: Images of Women by Niki de Saint Phalle
Niki de Saint PhalleNiki de Saint Phalle
Modern Women: Women Artists at The Museum of Modern ArtModern Women: Women Artists at The Museum of Modern Art
Adrian Piper: A Synthesis of Intuitions 1965–2016Adrian Piper: A Synthesis of Intuitions 1965–2016
Hildegard von Bingen: A Journey into the ImagesHildegard von Bingen: A Journey into the Images
Remedios Varo: The Mexican YearsRemedios Varo: The Mexican Years
Anne Collier: Women with Cameras (Self Portrait)Anne Collier: Women with Cameras (Self Portrait)
Berenice Abbott: Portraits of ModernityBerenice Abbott: Portraits of Modernity
Marilyn MinterMarilyn Minter
Bridget Riley: A Very Very PersonBridget Riley: A Very Very Person

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

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

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My Mother LaughsMy Mother Laughs

Published by The Song Cave.
By Chantal Akerman. Translated by Corina Copp.

First published in France in 2013, My Mother Laughs is the final book written by the legendary and beloved Belgian artist and director Chantal Akerman (1950–2015) before her death. A moving and unforgettable memoir, the book delves deeply into one of the central themes and focuses of Akerman’s often autobiographical films: her mother, who was the direct subject of her final film No Home Movie (2015).

With a particular focus on the difficulties Akerman faced in conjunction with the end of her mother’s life, the book combines a matter-of-fact writing style with family photographs and stills from her own films in order to better convey the totality of her experience. Akerman writes: "With pride because I finally believed in my ability to say something that I’d had trouble saying. I told myself, I am strong for once, I speak. I tell the truth."

Chantal Akerman (1950–2015) was a Belgian film director, screenwriter, artist and professor. She is best known for her film Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (1975), which was dubbed a "masterpiece" by the New York Times. During her 42 years of active filmmaking, Akerman's influence on queer, feminist and avant-garde cinema remains unmatched, her films highlighting a near-physical passage of time. Akerman's films have been shown at the Venice Film Festival, Cannes Film Festival and the New York Film Festival, among many others.



PUBLISHER
The Song Cave

BOOK FORMAT
Paperback, 5.5 x 7.5 in. / 175 pgs / 22 color / 7 bw.

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The New Woman's Survival CatalogThe New Woman's Survival Catalog

A Woman-made Book

Published by Primary Information.
Edited by Kirsten Grimstad, Susan Rennie.

At once practical and creative, this book was feminism’s Whole Earth Catalog

Originally published in 1973, The New Woman’s Survival Catalog is a seminal survey of the second-wave feminist effort across the US. Edited by Kirsten Grimstad and Susan Rennie in just five months, The New Woman’s Survival Catalog makes a nod to Stewart Brand’s influential Whole Earth Catalog, mapping a vast network of feminist alternative cultural activity in the 1970s.

Grimstad and Rennie set out on a two-month road trip in the summer of 1973, meeting and interviewing a range of organizations and individuals, and gathering vital information on everything from arts groups to bookstores and independent presses, health, parenting and rape crisis centers and educational, legal and financial resources. "These projects express a rejection of the values of existing institutional structures,” Grimstad and Rennie wrote, “and, unlike the hip male counterculture, represent an active attempt to reshape culture through changing values and consciousness."

Arranged in themed sections on art, communications, work and money, child care, self-help, self-defense and activism, The New Woman’s Survival Catalog provides crucial insight into feminist initiatives and activism nationwide during the Women’s Movement. It includes a “Making the Book” section that details the publication’s production.

Kirsten Grimstad and Susan Rennie are the coeditors of The New Woman’s Survival Catalog and The New Woman’s Survival Sourcebook (1975). They went on to cofound Chrysalis: A Magazine of Women’s Culture, published out of the Woman’s Building in downtown Los Angeles from 1977 to 1981. Grimstad is currently Co-Chair of Undergraduate Studies at Antioch University, Los Angeles; she is the author of The Modern Revival of Gnosticism and Thomas Mann’s Doktor Faustus (2002). Rennie taught social sciences at Union Institute & University in Cincinnati, worked as a women’s health activist and now lives in Venice, California.



PUBLISHER
Primary Information

BOOK FORMAT
Paperback, 10.5 x 14.25 in. / 210 pgs / 403 duotone.

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Women in TreesWomen in Trees

Published by Hatje Cantz.
Edited with text by Jochen Raiss.

“You know, I don’t know how one can walk by a tree and not be happy at the sight of it?” writes Fyodor Dostoyevsky in The Idiot. Perhaps this sentence might explain the subject of women in trees that was so popular between the 1920s and ‘50s and has until now never before been assembled in a book. The enthusiastic collector Jochen Raiss discovered this motif during his flea market excursions. These photographs feature young women at dizzying heights who, at times, smile into the camera as if they were in love. The publication assembles the finds from this charming genre that Raiss compiled over a period of 25 years. Whether the women are cheerfully dangling their legs, casually nestling in the branch forks or athletically climbing to the treetop, each picture has its own story to tell.

PUBLISHER
Hatje Cantz

BOOK FORMAT
Hardcover, 4.75 x 6.75 in. / 112 pgs / 55 bw.

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Catalog: FALL 2016 p. 131   

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More Women in TreesMore Women in Trees

Climbing Up Again

Published by Hatje Cantz.

“What are they all doing up there?” wondered the Zürich Tagesanzeiger. "It’s probably a forgotten popular sport,” suggested Der Spiegel. There was even speculation about the “secret sex life of trees.” One thing is certain: Jochen Raiss’s Women in Trees, published by Hatje Cantz in 2016, immediately became a bestseller. Perhaps it happened simply because the evident happiness felt by these women (who may have simply been in the mood to climb a tree) is palpable to us all.

Women in Trees made us happy—and hungry for more. So Hatje Cantz asked the obsessive collector Raiss if he might have some more of “the goods,” and he did. He has, after all, spent 25 years searching for and finding anonymous masterpieces such as these, which is why we now have More Women in Trees: how can you possibly get enough of them?



PUBLISHER
Hatje Cantz

BOOK FORMAT
Hardcover, 5 x 7 in. / 112 pgs / 52 color.

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Hilma af Klint: Paintings for the FutureHilma af Klint: Paintings for the Future

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.

Hilma af Klint's daring abstractions exert a mystical magnetism

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Hardcover, 8.5 x 11.25 in. / 244 pgs / 220 color.

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Louise Bourgeois: The Spider and the TapestriesLouise Bourgeois: The Spider and the Tapestries

Published by Hatje Cantz.
Text by Louise Bourgeois.

Louise Bourgeois' tapestry and needlepoint work deals with reparation in both a literal and metaphorical sense. In many of the works, fragmented tapestries are pieced together and repaired to create new sculptural forms. The recurring practices of weaving, stitching and mending express Bourgeois' identification with her childhood and the family business of tapestry restoration. Coupled with the medium of tapestry, Bourgeois' recurring motif of the spider symbolizes her mother, a weaver, and fully explores the complex relationship between mother and child. This publication includes archival photographs and facsimile documents from the Bourgeois family archive, as well as excerpts from the artist's psychoanalytical writings.

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Hatje Cantz

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Clth, 5.75 x 8.25 in. / 92 pgs / 69 color.

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Catalog: FALL 2015 p. 120   

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Nan Goldin: The Other SideNan Goldin: The Other Side

Published by Steidl.
Text by Nan Goldin, Bea Rogers. Interview by Sunny Suits, Joey Gabriel.

"This is a book about beauty. And about love for my friends." –Nan Goldin

This is an expanded and updated version of Nan Goldin’s seminal book The Other Side, originally published in 1993, featuring a revised introduction by Goldin, and, for the first time, the voices of those whose stories are represented. Published at a time when discourse around gender and sexual orientation is evolving rapidly, The Other Side traces some of the history that informs this new visibility.

The first photographs in the book are from the 1970s, when Goldin lived in Boston with a group of drag queens and documented their glamour and vulnerability. In the early 1980s, Goldin chronicled the lives of transgender friends in New York when AIDS began to decimate her community. In the ’90s, she recorded the explosion of drag as a social phenomenon in New York, Berlin, Bangkok and the Philippines. Goldin’s newest photographs are intimate portraits, imbued with tenderness, of some of her most beloved friends. The Other Side is her homage to the queens she has loved, many of whom she has lost, over the last four decades.

Nan Goldin (born 1953) lives and works between New York, Paris and Berlin. In 1978 Goldin moved to New York, where she presented slideshows in nightclubs and underground cinemas; her best known, The Ballad of Sexual Dependency, was published in 1986. In the ’90s Goldin relocated to Berlin where she published A Double Life with David Armstrong and the first edition of The Other Side. In 2000 she moved to Paris. In 2018 Goldin and her colleagues founded P.A.I.N. (Prescription Addiction Intervention Now), a direct action group advocating for addiction treatment and education in the mounting opioid crisis. Her publications with Steidl include The Beautiful Smile (2008) and Diving for Pearls (2016).



PUBLISHER
Steidl

BOOK FORMAT
Clth, 9 x 10.75 in. / 140 pgs / 100 color / 30 bw.

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Dorothea Lange: Words & PicturesDorothea Lange: Words & Pictures

Published by The Museum of Modern Art, New York.
Edited with text by Sarah Hermanson Meister. Text by Julie Ault, Kimberly Juanita Brown, River Encalada Bullock, Sam Contis, Jennifer Greenhill, Lauren Kroiz, Sally Mann, Sandra Phillips, Wendy Red Star, Christina Sharpe, Robert Slifkin, Rebecca Solnit, Tess Taylor.

On the unique synthesis of word and image in Dorothea Lange's boldly political photography, which defined the iconography of WPA and Depression-era America

PUBLISHER
The Museum of Modern Art, New York

BOOK FORMAT
Clth, 9 x 10.5 in. / 176 pgs / 70 color / 75 duotone.

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Graciela Iturbide’s MexicoGraciela Iturbide’s Mexico

Photographs

Published by MFA Publications, Museum of Fine Arts, Boston.
Text by Kristen Gresh. Contributions by Guillermo Sheridan.

Iturbide is modern Mexico's subtlest, most profound chronicler

Graciela Iturbide, best known for her iconic photographs of Mexican indigenous women, has engaged with her homeland as a subject for the past 50 years in images of great variety and depth. The intensely personal, lyrical photographs collected and interpreted in this book show that, for Iturbide, photography is a way of life—as well as a way of seeing and understanding Mexico, with all its beauties, rituals, challenges and contradictions.

The Mexico portrayed here is a country in constant transition, defined by tensions and exchanges between new and old, urban and rural, traditional and modern. Iturbide’s deep connection with her subjects—among them political protests, celebrations and rituals, desert landscapes, cities, places of burial and Mexico’s artistic heritage—produces indelible images that encompass dreams, symbols, reality and daily life.

Published to accompany the first major museum exhibition of Iturbide’s work on the East Coast, this volume presents more than 100 beautifully reproduced black-and-white photographs, accompanied by illuminating essays inviting readers to share in Graciela Iturbide’s personal artistic journey through the country she knows so intimately.

One of the most influential photographers active in Latin America today, Mexican photographer Graciela Iturbide (born 1942) began studying photography in the 1970s with legendary photographer Manuel Álvarez Bravo. Seeking “to explore and articulate the ways in which a vocable such as 'Mexico' is meaningful only when understood as an intricate combination of histories and practices,” as she puts it, Iturbide has created a nuanced and sensitive documentary record of contemporary Mexico.



PUBLISHER
MFA Publications, Museum of Fine Arts, Boston

BOOK FORMAT
Hardcover, 9.75 x 9.25 in. / 240 pgs / 135 bw.

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Phyllis Galembo: Mexico Masks RitualsPhyllis Galembo: Mexico Masks Rituals

Published by Radius Books/D.A.P..
Text by Sergio Rodríguez Blanco, George Otis.

The acclaimed photographer of African masks turns her lens to the astounding mask cultures of Mexico

Since 1985, photographer Phyllis Galembo has traveled extensively to photograph sites of ritual dress in Africa and the Caribbean. In her latest body of work, collected in this new publication, Galembo turns to Mexico, where she captures cultural performances with a subterranean political edge. Using a direct, unaffected portrait style, Galembo captures her subjects informally posed but often strikingly attired in traditional or ritualistic dress.

Masking is a complex tradition in which the participants transcend the physical world and enter the spiritual realm. Masks, costumes and body paint transform the human body and encode a rich range of political, artistic, theatrical, social and religious meanings on the body. In her vibrant color photographs, Galembo highlights the artistry of the performers, how they use materials from their immediate environment to morph into a fantastical representation of themselves and an idealized vision of a mythical figure. In a gorgeous, fascinating photographic survey of Mexico’s masking practices, Galembo captures her subjects suspended between past, present and future, with their religious, political and cultural affiliations—their personal and collective identifications—displayed on their bodies.

Photographer Phyllis Galembo (born 1952) received her MFA from the University of Wisconsin–Madison in 1977, and was Professor in the Fine Arts Department of SUNY Albany from 1978 to 2018. A 2014 Guggenheim Fellow, Galembo has photographs in numerous public and private collections, including the Metropolitan Museum of Art and the New York Public Library. Her photographs of ritual masks in Africa, the Diaspora and beyond have been the subject of several monographic publications, including Maske (Aperture, 2016).



PUBLISHER
Radius Books/D.A.P.

BOOK FORMAT
Hardcover, 9.75 x 10.75 in. / 196 pgs / 120 color.

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Catalog: SPRING 2019 p. 17   

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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.



PUBLISHER
Radius Books/Georgia O'Keeffe Museum

BOOK FORMAT
Hardcover, 10 x 13 in. / 140 pgs / 55 color.

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Catalog: SPRING 2016 p. 6   

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ISBN 9781942185048 TRADE
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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

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

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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.

The critically acclaimed, indispensible illustrated monograph on Agnes Martin, published to accompany the major retrospective exhibition organized by the Tate and on view in 2016 at the Los Angeles County Museum of Art and the Guggenheim

This groundbreaking survey provides an in-depth account of Martin's artistic career, from lesser-known early experimental works through her striped and gridded grey paintings and use of color in various formats, to a group of her final pieces that reintroduce bold forms. A selection of drawings and watercolors and Martin's own writing are also included.

Edited by the exhibitions's co-curators Frances Morris and Tiffany Bell, and with essays by leading scholars that give a context for Martin's work—her life, relationship with other artists, the influence of South-Asian philosophy—alongside focused shorter pieces on particular paintings, this beautifully designed volume is the definitive publication on her oeuvre. Frances Morris places Martin's work in the art historical context of the time; art historian Richard Tobin analyzes Martin’s painting "The Islands"; conservator Rachel Barker offers the reader a close viewing of "Morning"; curator Lena Fritsch provides a visual biography by comparing photographic portraits of Martin from different periods; and art historian Jacquelynn Baas delves into the spiritual and philosophical beliefs so present in Martin's art, including Platonism, Christian mysticism, Zen Buddhism and Taoism.

Agnes Martin was born in Maklin, Saskatchewan, Canada, in 1912, and moved to the US in 1932, studying at universities in Oregon, California, New Mexico and New York. She painted still lifes and portraits until the early 1950s, when she developed an abstract biomorphic style influenced by Abstract Expressionism. Her first one-woman exhibition was held at the Betty Parsons Gallery, New York, in 1958. Partly through close friendships with artists such as Ellsworth Kelly and Ad Reinhardt, Martin began to experiment with symmetrical compositions of rectangles or circles within a square, then from around 1960–61 to work with grids of delicate horizontal and vertical lines. She left New York in 1967, shortly after the death of Reinhardt, and moved to New Mexico, where she lived until her death in 2004.



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D.A.P./Tate

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

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Kiki SmithKiki Smith

Published by Silvana Editoriale.
Edited by Stéphanie Molinard, Marie Chênel. Text by Marie Chênel, Flora Fettah, Camille Morineau, Nora Philippe, Sophie Delpeux, Marc Schwartz, Kiki Smith.

Four decades of Kiki Smith’s searing, intimate investigations of the body and the cosmos

PUBLISHER
Silvana Editoriale

BOOK FORMAT
Hardcover, 6.75 x 9.5 in. / 240 pgs / 120 color.

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STATUS: Forthcoming | 3/17/2020

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

Cindy Sherman: The Complete Untitled Film StillsCindy Sherman: The Complete Untitled Film Stills

Published by The Museum of Modern Art, New York.
Essays by Peter Galassi and Cindy Sherman.

Cindy Sherman's Untitled Film Stills, a series of 69 black-and-white photographs created between 1977 and 1980, is widely seen as one of the most original and influential achievements in recent art. Witty, provocative and searching, this lively catalogue of female roles inspired by the movies crystallizes widespread concerns in our culture, examining the ways we shape our personal identities and the role of the mass media in our lives. Sherman began making these pictures in 1977 when she was 23 years old. The first six were an experiment: fan-magazine glimpses into the life (or roles) of an imaginary blond actress, played by Sherman herself. The photographs look like movie stills--or perhaps publicity pix--purporting to catch the blond bombshell in unguarded moments at home. The protagonist is shown preening in the kitchen and lounging in the bedroom. Onto something big, Sherman tried other characters in other roles: the chic starlet at her seaside hideaway, the luscious librarian, the domesticated sex kitten, the hot-blooded woman of the people, the ice-cold sophisticate and a can-can line of other stereotypes. She eventually completed the series in 1980. She stopped, she has explained, when she ran out of clichés.

Other artists had drawn upon popular culture but Sherman's strategy was new. For her the pop-culture image was not a subject (as it had been for Walker Evans) or raw material (as it had been for Andy Warhol) but a whole artistic vocabulary, ready-made. Her film stills look and function just like the real ones--those 8 x 10 glossies designed to lure us into a drama we find all the more compelling because we know it isn't real. In the Untitled Film Stills there are no Cleopatras, no ladies on trains, no women of a certain age. There are, of course, no men. The 69 solitary heroines map a particular constellation of fictional femininity that took hold in postwar America--the period of Sherman's youth and the starting point for our contemporary mythology. In finding a form for her own sensibility, Sherman touched a sensitive nerve in the culture at large. Although most of the characters are invented, we sense right away that we already know them. That twinge of instant recognition is what makes the series tick and it arises from Cindy Sherman's uncanny poise. There is no wink at the viewer, no open irony, no camp.

In 1995, The Museum of Modern Art purchased the series from the artist, preserving the work in its entirety. This book marks the first time that the complete series will be published as a unified work, with Sherman herself arranging the pictures in sequence.

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.

PUBLISHER
The Museum of Modern Art, New York

BOOK FORMAT
Hardcover, 9.5 x 11.25 in. / 164 pgs / 69 duotone.

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

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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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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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Catalog: FALL 2018 p. 54   

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Faith RinggoldFaith Ringgold

Published by Walther König, Köln.
Edited by Melissa Blanchflower, Natalia Grabowska, Melissa Larner. Text by Michelle Wallace. Interview by Hans Ulrich Obrist.

An affordable introduction to the quilts, paintings and posters of Faith Ringgold, a preeminent chronicler of Black life in America

PUBLISHER
Walther König, Köln

BOOK FORMAT
Paperback, 8.75 x 10.25 in. / 160 pgs / 61 color / 2 bw.

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Beyond Mammy, Jezebel & SapphireBeyond Mammy, Jezebel & Sapphire

Reclaiming Images of Black Women

Published by Jordan Schnitzer Family Foundation.
Edited by Sigrid Asmus. Introduction by Jessica Hunter-Larsen, Megan Valentine. Foreword by Catherine M. Pears. Text by Heidi R. Lewis, Roland Mitchell, Takiyah Nur Amin, Velva Boles, Claire Garcia, Jean Gumpper, Kate Leonard, Venetria K. Patton, Sha'Condria Sibley, Karen Riley Simmons, Claudine Taaffe.

Engaging a wide range of experiences, techniques and materials, the nine artists featured in this volume challenge the images of black women that continue to pervade our culture and influence perceptions: stereotypes such as the suffering mama, the angry black woman and the temptress. Brought together in this publication, works by Romare Bearden, Mildred Howard, Wangechi Mutu, Lorna Simpson, Kara Walker, Robert Colescott, Ellen Gallagher, Alison Saar and Mickalene Thomas disrupt expectations and replace simplistic narratives with nuanced, sophisticated meditations on contemporary identity.



PUBLISHER
Jordan Schnitzer Family Foundation

BOOK FORMAT
Hardcover, 9.75 x 12.25 in. / 79 pgs / 38 color / 9 bw.

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Tarsila do Amaral: Cannibalizing ModernismTarsila do Amaral: Cannibalizing Modernism

Published by MASP.
Edited with text by Adriano Pedrosa, Fernando Oliva. Text by Amanda Carneiro, Artur Santoro, Carlos Eduardo Riccioppo, Guilherme Giufrida, Irene V. Small, Mari Rodriguez Binnie, Maria Castro, Matheus de Andrade, Michele Bete Petry and Maria Bernardete Ramos Flores, Michele Greet, Paulo Herkenhoff, Renata Bittencourt, Sergio Miceli.

The luminous, revelatory landscapes of the pioneering Latin American modernist, in a deluxe production

PUBLISHER
MASP

BOOK FORMAT
Hardcover, 8 x 10.75 in. / 360 pgs / 358 color.

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Eva Hesse: Oberlin DrawingsEva Hesse: Oberlin Drawings

Drawings in the Collection of the Allen Memorial Art Museum, Oberlin College

Published by Hauser & Wirth Publishers.
Edited by Barry Rosen. Foreword by Helen Hesse Charash, Andria Derstine. Text by Briony Fer, Gioia Timpanelli, Manuela Ammer, Andrea Gyorody, Jörg Daur.

This monumental tome contains the entirety of the important German artist’s drawings held in the collection of the Allen Memorial Art Museum, Oberlin College, Ohio. The AMAM was the first museum to purchase a sculpture by Hesse, Laocoon, in 1970. In gratitude for its recognition of Hesse's work, and following the artist's untimely death, her sister Helen Hesse Charash generously donated the artist's notebooks, diaries, sketchbooks, photographs and letters to the museum.

Hesse’s drawings played a crucial role in her work, which in turn gave way to an array of highly innovative techniques and styles that today still defy classification. As she commented in 1970: “I had a great deal of difficulty with painting but never with drawing ... the translation or transference to a large scale and in painting was always tedious.... So I started working in relief and with line.” Hesse’s custom of introducing sculptural materials into drawing and painting continues to influence artmaking today.

Eva Hesse (1936–70) was one of the foremost artists of the 20th century. Her work combined the seriality and reductionism of 1960s minimalism with emotion, sensuousness and physicality. Her work is in the collections of the Museum of Modern Art, Tate, Guggenheim and many others.



PUBLISHER
Hauser & Wirth Publishers

BOOK FORMAT
Hardcover, 9.5 x 11 in. / 428 pgs / 391 color.

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Catalog: FALL 2019 p. 103   

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Agnes Denes: Absolutes and IntermediatesAgnes Denes: Absolutes and Intermediates

Published by The Shed.
Edited by Emma Enderby. Foreword by Alex Poots. Text by Giampaolo Bianconi, Agnes Denes, Emma Enderby, Lynn Gamwell, Renee Gladman, Caroline A. Jones, Lucy R. Lippard, Dan Mills, Timothy Morton, Klaus Ottmann. Interview by Hans Ulrich Obrist.

"Agnes Denes, the queen of land art, made one of New York’s greatest public art projects ever in 1982. Now, the world might be catching up with her." –Karrie Jacobs, New York Times

Agnes Denes: Absolutes and Intermediates accompanies the largest exhibition of the artist’s work in New York to date, held at The Shed in fall 2019 as part of the arts space’s opening season. Presenting more than 130 works, this comprehensive publication, presented in an embossed slipcase, spans the 50-year career of the path-breaking artist dubbed “the queen of land art” by the New York Times, famed for her iconic Wheatfield—A Confrontation (1982), for which she planted a two-acre wheatfield in Lower Manhattan on the Battery Park Landfill, in the shadow of the then recently erected Twin Towers.

A major undertaking, this superb catalog includes a comprehensive text by the exhibition’s curator, Emma Enderby, an interview with Denes by Hans Ulrich Obrist, essays by prominent scholars and curators including Caroline A. Jones, Lucy R. Lippard and Timothy Morton that examine Denes’ multifaceted practice in new ways, writings by the artist and reflections by curators who have worked with Denes over the course of her career. New works by Denes commissioned by The Shed for the exhibition are presented in a special insert.

Budapest-born, New York–based artist Agnes Denes (born 1931) rose to international attention in the 1960s and 1970s as a leading figure in conceptual, environmental and ecological art. A pioneer of several art genres, she has created work in many mediums, utilizing various disciplines—such as science, philosophy, linguistics, ecology and psychology—to analyze, document and ultimately aid humanity.



PUBLISHER
The Shed

BOOK FORMAT
Slip, hbk, 9 x 11.75 in. / 384 pgs / 330 color / 15 bw.

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I'm a Fighter: Images of Women by Niki de Saint PhalleI'm a Fighter: Images of Women by Niki de Saint Phalle

Published by Hatje Cantz.
Text by Ulrich Krempel, Naja Rasmussen, Regina Selter, Karoline Sieg.

Franco-American artist Niki de Saint Phalle (1930–2002) became internationally famous in the 1960s for her larger-than-life, brightly colored Nana figures. But even before she created these iconic works, which express an alternative, utopian image of female identity, women had been the primary subject of her art. “I wanted the world outside to belong to me, as well, she said. At a very young age I got the message that men had the power, and I wanted it.”

Through paintings, assemblages, sculptures, lithographs and drawings, this catalog also takes a look at her lesser-known female figures that depict women tied to their various roles in society: the goddess, the bride, the fertility figure, the mother and the crone. The book also traces the development of de Saint Phalle’s fierce confrontation of the political conflicts of the day.

PUBLISHER
Hatje Cantz

BOOK FORMAT
Hardcover, 9 x 10.75 in. / 176 pgs / 120 color.

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Catalog: SPRING 2017 p. 113   

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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.

This gorgeous volume offers the most complete overview in print of the oeuvre of Niki de Saint Phalle, one of the most influential and popular artists of the postwar period. The French-American artist was educated according to the social codes of upper-class New York society, but boldly rejected the expectations of her family to instead choose a career in art. Moving to Paris in the 1960s, she befriended the Nouveau Réaliste artists Martial Raysse, Daniel Spoerri and Jean Tinguely, creating her famous Shooting Paintings, the Nanas (brightly chromatic biomorphic sculptures of female archetypes), as well as experimental films, decors and costumes for ballet productions and collaborations with Tinguely, Robert Rauschenberg and others. Saint Phalle was adept at using the media to consolidate her public image, and soon became an icon of the 1960s art scene, attaining a broad cultural profile that was furthered by her numerous public art projects, including the Tarot Garden in Tuscany and the Stravinsky Fountain in Paris. This superbly produced publication—which features a die-cut cover through which Saint Phalle peers, aiming her gun—presents her works in all media, along with ephemera and archival photographs documenting her rich career and life.

Niki de Saint Phalle (1930-2002) was born near Paris and moved to the US in 1933. During her teen years Saint Phalle was a fashion model and appeared on the cover of Life in 1949 and, three years later, on the cover of French Vogue. At 18 Saint Phalle eloped with author Harry Mathews and moved to Cambridge, Massachusetts, and later to Paris, where she exhibited at the Alexander Iolas Gallery. In 1971 Saint Phalle married Jean Tinguely, and throughout that decade created the public sculptures and parks for which she became celebrated. Saint Phalle died of emphysema in California in May 2002.

PUBLISHER
La Fábrica/Guggenheim Museum Bilbao

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

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Catalog: SPRING 2015 p. 84   

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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.

This landmark survey represents the first effort by a major North American museum to examine its collection by highlighting the production of modern and contemporary women artists. Featuring essays by nearly 50 writers, including both MoMA curators and outside scholars, among them many of the strongest voices in current research on art and gender, this groundbreaking publication presents a variety of generational and cultural perspectives. Modern Women focuses on a diverse range of artists active from the late nineteenth century to the present whose works span the spectrum of mediums and genres in the Museum's collection. Organized chronologically into three sections—“Early Modernism,” “Mid-Century” and “Contemporary”—the book comprises both long and short essays emphasizing new research on women artists within these historical time periods. Subjects include women at the Bauhaus, design collaborations, photographers between the wars, the legacy of Maya Deren, Latin American artists, performance art, architecture, land art, “Riot Grrrls,” African American artists, collage and assemblage in contemporary portraiture as well as essays on individual artists such as Lillian Gish, Sybil Andrews, Diane Arbus, Ida Lupino, Hanne Darboven, Bridget Riley, Ana Mendieta, Louise Bourgeois, Adrian Piper, Nan Goldin, Zaha Hadid, Janet Cardiff and Lin Tianmiao. Heavily illustrated with works from the collection, Modern Women constructs a conversation between past considerations of MoMA's collection and current feminist narratives of art history, putting these varied modes of exploration in productive dialogue.

PUBLISHER
The Museum of Modern Art, New York

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

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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

Adrian Piper has consistently produced groundbreaking work that has profoundly shaped the form and content of conceptual art since the 1960s. Strongly inflected by her longstanding involvement with philosophy and yoga, her pioneering investigations into the political, social, psychological and spiritual potential of conceptual art have had an incalculable influence on artists working today.

Published in conjunction with the most comprehensive exhibition of her work to date, this 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. Essays by curators and scholars examine her extensive research into altered states of consciousness; the introduction of the Mythic Being—her subversive masculine alter-ego; her media and installation works from after 1980, which reveal and challenge stereotypes of race and gender; and the global conditions that illuminate the significance of her art. 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. This publication expands our understanding of the conceptual and post-conceptual art movements and Piper’s pivotal position among her peers and for later generations.

Adrian Piper (born 1948) is a first-generation conceptual artist and analytic philosopher. She received an AA in Fine Art from the School of Visual Arts in 1969, a BA in Philosophy with a minor in Medieval and Renaissance Musicology from the City College of New York in 1974 and a PhD in Philosophy from Harvard University in 1981. Piper’s artwork is in the collections of The Museum of Modern Art, the Centre Pompidou, the Metropolitan Museum of Art, the Generali Foundation and the Museum of Contemporary Art of Los Angeles, among others.



Cornelia Butler is Chief Curator at the Hammer Museum, Los Angeles.

David Platzker is Curator in the Department of Drawings and Prints at The Museum of Modern Art, New York.

Christophe Cherix is Chief Curator of Drawings and Prints at MoMA.

Tessa Ferreyros is Curatorial Assistant in the Department of Drawings and Prints at The Museum of Modern Art, New York.

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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Hildegard von Bingen: A Journey into the ImagesHildegard von Bingen: A Journey into the Images

Published by Skira.
Edited with text by Sara Salvadori.

The illuminations of Hildegard, multitalented composer, artist, mystic and the great predecessor of Hilma af Klint and Emma Kunz

Before Hilma af Klint and Emma Kunz, there was Hildegard von Bingen (1098–1179)—the German abbess, composer, writer, artist and mystic, who until now was probably best known, in the English-speaking world, for her music and her writings. Von Bingen completed her first visionary work of art around 1152: Scivias, taken from the Latin phrase Sci vias Domini, or “Know the Ways of the Lord.” Describing 26 of Hildegard’s religious visions in text and a series of 35 miniature illustrations, this series narrates the journey of the humanity in Eve’s womb, represented as bright stars, as it joins with the stars in the sky: a possibility offered to each soul, to return back to the Light.

In obedience to the voice of God, von Bingen wrote down her visions in a precious manuscript, with images added to make the story come alive. This volume brings Hildegard's visionary text, in all its dense symbolism and prophetic sweep, alive to contemporary readers.

At the core of the book are the manuscript’s 35 miniatures, reproduced at their original size alongside an accompanying key. Each element of the images—colors, frames, forms, numbers—was precisely chosen and leads deeper into the meaning of the work; the key decodes these symbols in each image and concisely describes each vision. A text by musician and scholar Sara Salvadori crosses the entire work, highlighting these interlinking details and revealing Hildegard’s dense, unified design. This volume presents Hildegard von Bingen’s endlessly compelling prophetic text in all its inspired beauty.



PUBLISHER
Skira

BOOK FORMAT
Hardcover, 9.5 x 12.5 in. / 224 pgs / 136 color.

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Remedios Varo: The Mexican YearsRemedios Varo: The Mexican Years

Published by RM.
Text by Masayo Nonaka.

Remedios Varo: The Mexican Years offers a definitive survey of the life and work of a singularly appealing and mysterious Surrealist painter. Born and raised in Spain, Remedios Varo received her earliest training in Madrid before fleeing the Spanish Civil War in 1937 to join Surrealist circles in Paris. The outbreak of World War II forced her to take refuge in Mexico, where she remained until her untimely death in 1963, and where she created her most enduring work. Known as one of the three “brujas” (witches) active in the Mexico City art milieu, Varo shared an interest in esotericism with fellow painter Leonora Carrington and a range of interests in science, philosophy and the literature of German Romanticism with the photographer Kati Horna. For some ten years, from the mid–1950s until her death in 1963, Varo devoted herself to creating an extraordinary dreamlike oeuvre, on the threshold between mysticism and modernity. Her beautifully crafted images of medieval interiors, occult workshops and androgynous figures engaged in alchemical pursuits evoke the eerie allegories of Hieronymus Bosch, esoteric engravings and the charm and lure of fairytales. This catalogue includes a complete illustrated chronology with never before published images and describes Varo’s role in the Mexican Surrealist movement and her relations with Luis Buñuel, Octavio Paz, Benjamin Péret, Alice Rahon, Wolfgang Paalen and many others.

Remedios Varo (1908–1963) fled the Spanish Civil War and then World War II to settle in Mexico where she helped establish a Mexican Surrealist movement and painted visions that combined modernism with mysticism. She was married to the leading French Surrealist Benjamin Péret.

PUBLISHER
RM

BOOK FORMAT
Hardcover, 9.5 x 11 in. / 120 pgs / illustrated throughout.

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Catalog: FALL 2012 p. 36   

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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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ISBN 9781949172003 TRADE
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Berenice Abbott: Portraits of ModernityBerenice Abbott: Portraits of Modernity

Published by Fundación MAPFRE.
Text by Estrella de Diego, Gary Van Zante, Cara Hoffman.

A superbly printed, definitive volume on the beloved American modernist photographer

PUBLISHER
Fundación MAPFRE

BOOK FORMAT
Clth, 9.5 x 11.75 in. / 248 pgs / 190 duotone.

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Marilyn MinterMarilyn Minter

Published by Gregory R. Miller & Co..
Text by Johanna Burton, Matthew Higgs, Mary Heilmann, Sonia Campagnola.

This expanded edition of Gregory R. Miller's hugely successful first-ever monograph on Marilyn Minter from 2007 brings her public up to speed with the inclusion of works created over the past three years, including images from Minter's 2009 video “Green Pink Caviar,” shown in New York's Times Square and featured in Madonna's recent Sticky and Sweet concert tour. Minter's ever-expanding reputation was established during the 1980s, when her work engaged formal aspects of painting as well as subject matter that remain central to her practice today. This publication features work from every period of a career that now spans over 40 years, and reproduces in full color nearly every painting Minter has made, along with a wide selection of her painterly photographs of the last several years. It also includes the seminal and haunting Coral Ridge Towers series of black-and-white photos that Minter took of her mother in 1969. Art historian Johanna Burton contributes a substantial essay that analyzes and elucidates all aspects of Minter's work; her text is complemented by a lengthy conversation between Minter and her friend, painter Mary Heilmann, as well as by “Twenty Questions,” a project assembled by Matthew Higgs to which a wide range of artists, curators, friends and others with a unique connection to Minter have contributed. The design and production of this expanded edition have been superbly realized by the award-winning New York- and Amsterdam-based design studio, COMA. This monograph firmly establishes Minter's important and central position in contemporary art.

PUBLISHER
Gregory R. Miller & Co.

BOOK FORMAT
Hardcover, 8.5 x 11 in. / 240 pgs / 275 color / 25 bw.

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Catalog: SPRING 2010 p. 31   

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ISBN 9781616234966 TRADE
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Bridget Riley: A Very Very PersonBridget Riley: A Very Very Person

The Early Years

Published by Ridinghouse.
By Paul Moorhouse.

In January 1965 the international art world converged on New York to pay homage to a brilliant new star. The glittering opening of The Responsive Eye, a major exhibition of abstract painting at the Museum of Modern Art, signalled the latest phenomenon, op art—and its center of attention was a young painter named Bridget Riley, whose dazzling painting Current appeared on the cover of the catalogue. Riley’s first solo show in New York sold out, and, following a feature in Vogue magazine, the Riley “look” became a fashion craze. Overnight, she had become a sensation, yet only three years earlier, she was a virtual unknown. How did success arrive so suddenly?

Authored by the acclaimed curator and writer Paul Moorhouse, A Very Very Person is the first biography of Bridget Riley and addresses that tantalizing question. Focusing on her early years, it tells the story of a remarkable woman whose art and life were entwined in surprising ways. This intimate narrative explores Riley’s wartime childhood spent in the idyllic Cornish countryside, her subsequent struggles to find her way as an artist, and the personal challenges she faced before finally arriving as one of the world’s most celebrated artists in Swinging 1960s London.

Paul Moorhouse is is an art historian and curator. He was Senior Curator at the National Portrait Gallery, London (2005–17) and Senior Curator at Tate, London (1985–2005), where he curated a major Bridget Riley retrospective exhibition in 2003. Recent books include Cindy Sherman (2014), Bridget Riley: From Life (2010), the award-winning Gerhard Richter: Painting Appearances (2009), Pop Art Portraits (2007) and Richard Long: Walking the Line (2003).

PUBLISHER
Ridinghouse

BOOK FORMAT
Paperback, 5.75 x 8.75 in. / 272 pgs / 11 color / 19 bw.

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