| RECENT POSTS DATE 2/16/2026 DATE 2/14/2026 DATE 2/11/2026 DATE 2/9/2026 DATE 2/5/2026 DATE 2/1/2026 DATE 2/1/2026 DATE 1/31/2026 DATE 1/29/2026 DATE 1/28/2026 DATE 1/28/2026 DATE 1/25/2026 DATE 1/22/2026
| | | RECENT POSTSCORY REYNOLDS | DATE 2/16/2026 For Chinese New Year, what could be more beautiful than Chinese Patchwork? The subject of the exhibition One Hundred Stitches, One Hundred Villages, on view now at MFA Boston, the hand-patchworking tradition has been passed down via generation upon generation of rural Chinese women. Dating back even to the garments of ancient Buddhist and Daoist monks, who dressed in patched rags to convey humility, today, the practice continues across the provinces, as highlighted by the contemporary makers featured in this catalog. Pictured here, Ma Yunfang, Yujiahe Vilage. Photo by Lois Conner.
 CORY REYNOLDS | DATE 2/14/2026“Ponyo loves Sosuke! I will be a human, too!” So says the unforgettable titular goldfish-princess-turned-mischevious-girl of Hayao Miyazaki’s 2008 hand-drawn masterpiece, Ponyo. A surreal yet childlike adaptation of The Little Mermaid, Ponyo is both a love story and a tale of powerful female curiosity and self-confidence. This Japanese poster for the film is reproduced from Hayao Miyazaki, published by DelMonico Books and the Academy Museum of Motion Pictures on the occasion of the museum’s inaugural exhibition in 2021—and on our minds anew this Valentine’s weekend as the Academy Museum’s highly-anticipated Ponyo exhibition opens to the public. “Having used CGI in his previous three feature films, Miyazaki decided, with Ponyo, to return to hand-drawn animation and once more push its potential by rendering the shapes and movements of a fluid world ‘where magic and alchemy are accepted as part of the ordinary,’ curator Jessica Niebel writes. “Miyazaki instructed Ghibli’s creative team to ‘get rid of straight lines. Use gently warped lines that allow the possibility of magic to exist liberating us from the curse of perspective drawing.’ The singularity of Ponyo lies in its flowing organic lines, which express a world dynamic defined by the living presence of the sea, ‘where even the horizon swells, dips and sways.’”
 CORY REYNOLDS | DATE 2/11/2026Wednesday, February 11, from 6:30–8 PM GMT (1:30–3 PM EST), London's Architectural Association School of Architecture presents the UK launch of 'Archigram: The Magazine' with an audiovisual presentation by Dan Crompton, Dennis Crompton’s son, and contributions from Director of the Zaha Hadid Foundation, Aric Chen; facsimile co-editor, Thomas Evans; Programme Director of the World Architecture Festival, Paul Finch; professor and author, David Grahame Shane; and architect and Columbia GSAAP assistant professor, Amelyn Ng. Peter Cook and David Greene of Archigram will speak and sign copies. [In-person event sold out; click through to sign up for livestream.]
CORY REYNOLDS | DATE 2/9/2026 What did Mexican architect Luis Barragán think, see and feel while designing, redesigning, living in, entertaining in, growing old in his ever-evolving, self-designed Mexico City home? This is the question Mexican photographer duo Lake Verea asked themselves as they studied Barragán’s architectural masterpiece, Casa Luis Barragán over two decades. The results of their intimate research are gathered in new release Lake Verea: Modern Barragán, published by Hatje Cantz. “We look for Barragán in his house through his own perspective, sitting on his furniture, having lunch made by Ana Maria, who still cooks his favorite meals and continues to set the table to his specifications. We specially love the seasonal tortitas de flor de colorín. Ana Maria gathers flowers that fall from the tree in the garden and cooks them with egg in tomato sauce and serves it with Mexican style white rice and tortillas. A true delicacy. We drink tequila and lemonade. We ‘live’ the house as he did. We enjoy the essence of the surroundings and the ambiance of the house. We feel at home. We enter his world.”
 CORY REYNOLDS | DATE 2/5/2026Graphic designers, typographers and Francophiles, rejoice! Letterform Archive has published the book you didn’t know you needed, but without which you will no longer be able to live. Collecting twelve gorgeous vintage alphabet albums used by 19th and 20th-century French sign painters during the golden age of hand-painted storefront signage, this oversized compendium functions as both a history lesson and a treasure-trove of templates for contemporary use. Originally published for tradesmen only, most of these familiar, yet ever so exotic abecedaria have never been published before. Expert sign painter and historian Morgane Côme writes: “As models, the plates from these portfolios are just waiting to be reused, revisited and adapted to the expectations of the twenty-first century. Designers may look to them as a valuable sourcebook for past styles or find jumping-off points to make something new. Digital-type revivals and experiments, perhaps even new tools for public lettering, could grow from the inventive letterforms and compositions that lie within. For those of us involved in sign painting, a trade that once almost vanished in France, these plates help anchor the practice in history. Now is an exciting moment. Although our numbers remain small (perhaps a hundred professionals, compared to five thousand in 1980), today we inherit a craft less closely tethered to decoration and more open to invention.”
 CORY REYNOLDS | DATE 2/1/2026February 1–3, 2026, visit us in Booth 4–F509 (fourth floor) at New York’s most refined independent home and gift show. Located within the Starrett-Lehigh Building in Chelsea, the show features more than 800 curated home and gift brands.
 CORY REYNOLDS | DATE 1/31/2026Saturday, January 31, from 5–8 PM, CULTUREEDIT Los Angeles presents 'Outside Sex,' an exhibition by Daniel Case, whose photographs explore the landscapes and sexscapes of iconic gay cruising sites across America. Adapted from the book published by Dark Entries. Case will be present and available to sign. Beverages generously provided by JUNESHIN8.
CORY REYNOLDS | DATE 1/29/2026 At this moment in American history, Corita Kent’s 1966 serigraph for emergency use soft shoulder is more welcome than ever. We are in that emergency. Reproduced from new release Someday is Now: The Art of Corita Kent—actually a reprint of the long out-of-print monograph on the artist, activist and Catholic nun that remains the most comprehensive book on her work to date—it embodies both Kent’s “formal innovation and an acute engagement with social issues,” in the words of essayist (and original exhibition organizer) Michael Duncan. “The works of the great communicator and formal activist Corita Kent transcend the simple captioning of most politically based photo-text work, offering a life-enhancing alternative to self-congratulatory and solipsistic works found within the cacophony of today’s art-world. They set a precedent for more sophisticated styles of communication, ones that offer aesthetic, flexible, and poetic ways of looking at the printed word. … She reflects and refracts the essence of our consumer-based desires, so to lift the spirits of her media-broadsided, spiritually numbed audience.”
 CORY REYNOLDS | DATE 1/28/2026Thursday, January 29, through Sunday, February 15, 2026, the Architecture Center CoAK presents the exhibition 'Archigram: Making a Facsimile,' which was jointly organized and exhibited by D.A.P. and Designers & Books and The Cooper Union in New York in October of 2025. This exhibition at Kyoto City's Center for Co-Architecture will be the first exhibition of this material in Japan.
 CORY REYNOLDS | DATE 1/28/2026This week, as all the world watches the Twin Cities, we are pleased to feature a work by Minneapolis-based Lakota artist Dyani White Hawk, whose work is on view now at the Walker Art Center in the landmark mid-career survey, Love Language. “I think about how I want my work to operate in the world,” White Hawk is quoted. “What do I want it to do? What do I want it to do for Native audiences? What do I want it to do for non-Native audiences? What do I want it to do beyond my lifetime, as I send it forward? For me personally, the goal is healing.” Pictured here, Round Dance (2023), is comprised of acrylic, oblong glass beads and synthetic sinew on aluminum panel. “One can view White Hawk’s work as beautiful and grand from a Western cultural perspective,” essayist Heather Ahtone writes. “But one can also choose to engage in the conversation she is offering, a gift from one culture to another, that asks us as participants within the art world to consider our responsibilities as we carry on using the historic values that continue to harm our shared planet and resources. What if we choose to value the earth’s resources responsibly? What if we choose to care for one another over profits? These questions are offered as a gift through the work. White Hawk is asking us to think of our lineage and what we will leave behind to the next generation. Can we value kinship as much as gold?”
 CORY REYNOLDS | DATE 1/25/2026Just in time for two New York City shows (at Throckmorton Fine Art and Ruiz-Healy), and closely following the ICP’s recent retrospective, Graciela Iturbide: Heliotropo 37 is back in stock from Fondation Cartier pour l'art contemporain in Paris. Featuring a tipped-on cover image and smyth-sewn exposed binding, this luxurious volume presents the influential Mexican photographer’s most iconic black-and-white works alongside previously unpublished photographs and a series of specially-commissioned color photographs. “Photography is not the truth,” Iturbide says in the published interview with Fabienne Bradu. “The photographer interprets reality, he builds his own reality according to what he knows and his emotions. It’s sometimes complicated because it is a slightly schizophrenic phenomenon. Without the camera, you see the world one way, and with it, another way; through this little window, you compose, you dream reality, as if the camera allowed you to synthetize what you are and what you’ve learned about the place. Then, you create your own image, you interpret. The same thing happens to the photographer and the writer alike: it’s impossible to capture life’s truths.”
 CORY REYNOLDS | DATE 1/22/2026Thursday, January 22, from 6–7:30 PM, NYC's International Center of Photography presents Audrey Sands, Richard L. Menschel Associate Curator of Photography at Harvard Art Museums and author of 'Lisette Model: The Jazz Pictures,' in conversation with Sara Ickow, Associate Director of Exhibitions at ICP, followed by a signing in the ICP Shop.
 CORY REYNOLDS | DATE 1/22/2026In honor of the 2026 Oscar nominations, announced today, we are featuring a few spreads from Bong Joon Ho: Director's Inspiration—a recently released staff favorite, published by DelMonico Books and the Academy Museum of Motion Pictures. Featuring stills and materials from Okja (2017), Parasite (2019) and Mickey 17 (2025), these spreads only hint at the treasures within, gathered from the director’s personal archive and elucidated upon by Bong himself. “The absurdity of Korean society in itself excites me cinematically,” he writes. “It’s bewildering. When you depict it cinematically, it may look like comedy at first, but it’s actually the most realistic portrayal.” Further along, he is quoted, “My films generally seem to have three components: fear, anxiety and a sense of humor.… At least when we laugh, there’s a feeling that we’re overcoming some kind of horror.”
 ANDRáS SZáNTó | DATE 1/21/2026Wednesday, January 21, from 6:30–8:30 PM, Guggenheim Director and CEO Mariët Westermann will appear in conversation with cultural strategy advisor András Szántó to celebrate the publication of his latest book, 'The Future of the Art World: 38 Dialogues,' published by Hatje Cantz. The discussion will also include include artist Agnieszka Kurant and philosopher Souleymane Bachir Diagne.
 CORY REYNOLDS | DATE 1/19/2026Monday, January 19, at 6 PM, Rizzoli Bookstore presents a conversation with Toto Bergamo Rossi, conservator-restorer and author, to celebrate his book, 'The Gardens of Venice,' a stunning illustrated look at the vibrant history and botanical details of Venice's gardens. He will be joined in conversation by fashion designer and philanthropist Diane Von Furstenberg and Rizzoli publisher Charles Miers, followed by a signing.
CORY REYNOLDS | DATE 1/19/2026 Taken circa 1973, Ming Smith’s America Seen Through Stars and Stripes, New York City, NY is reproduced from Black Photojournalism, the catalog to the landmark exhibition on view through Monday, January 19—Martin Luther King Jr. Day—at the Carnegie Museum of Art. Spanning from 1945 through 1984, this powerful 400-page compendium features work by 57 Black photographers, both well known (like Smith, Kwame Brathwaite and Gordon Parks) and overlooked (until now). “One of the most persistently powerful means of resistance that Black photographers have employed is to simply show us as we are,” Deborah Willis writes, “in our full humanity as families, workers, friends, lovers, artists and leaders. These photographers were on the frontlines, focusing their cameras on both the beautiful and the most painful moments in Black neighborhoods and communities…”
 CORY REYNOLDS | DATE 1/18/2026Sunday, January 18, at 4 PM EST, Artbook @ MoMA PS1 Bookstore presents a celebration of the Temple University Press publication 'Monument Lab: Re:Generation.' Editors Paul M. Farber and Sue Mobley will be in conversation, followed by a Q&A and book signing.
 LACY SOTO | DATE 1/17/2026Saturday, January 17, from 3-5 PM , Artbook at Hauser & Wirth Los Angeles presents photographer Peter Tomka in conversation with writer and curator Arpad Kovacs for the launch of 'Double Player'—an unconventional photographic book that demands to be experienced by two people—published by TBW Books.
 CORY REYNOLDS | DATE 1/14/2026Wednesday, January 14, from 6–8 PM, Printed Matter presents a launch and conversation with Pedro Bernstein on the occasion of his new publication, "Commentary on 'Approximations to the Object': Readings in Designed Literature," published by Set Margins’. Berstein will be joined in conversation by artist Courtney Smith.
 CORY REYNOLDS | DATE 1/13/2026Tuesday, January 13, through Monday, January 19, please join Artbook | D.A.P. in the Aesthetic Movement Showroom at the Atlanta Gift Market to view a curated selection of new books on art and culture for Winter and Spring of 2026!
 CORY REYNOLDS | DATE 1/12/2026Featuring more than 100 artists working from the mid-twentieth century to today—covering decolonialization and the civil rights period across the Diaspora—Ideas of Africa: Portraiture and Political Imagination is an essential examination of the role of portrait photography in the construction of Africa as a political idea. But “Ideas of Africa dispenses with the burden of representation that dominates the popular discourse about the African continent,” MoMA curator Oluremi C. Onabanjo writes, instead highlighting “the full range of creative capacity embedded within the photographic process. … What remains undertheorized in the public sphere—and particularly suited to curatorial forms of meaning-making—is the treatment of political imagination through photographic portraiture. As such, this exhibition aims to unfix the portrait as solely an index of identity. With this approach, Ideas of Africa is indebted to the work of Jennifer Bajorek, who argues that, in the case of city dwellers in Dakar and Bamako, ‘Africans’ embrace of photography was a key factor in expanding the existing spaces of political imagination . . . . [I]n the middle decades of the twentieth century, west Africans took full advantage of this expanded imaginative field. They used photography to open new routes and relays of communication; they creatively exploited its infinite capacities for recirculation and resignification; and they used its remarkable plasticity, lack of fixity, and aesthetic and referential open-endedness to reimagine, and remake, their world.” As we continue to witness transformative shifts in the global geopolitical order, it is useful to revisit a moment in history that saw the disintegration of colonial territories and the formation of transnational solidarity across the African continent and the African Diaspora. Ideas of Africa locates dazzling modes of Pan-African possibility in images made by inventive photographers who registered and beckoned new worlds.”
CORY REYNOLDS | DATE 1/11/2026 More than a decade before William Eggleston made his first color photograph, German-born medical photographer Fred Herzog emigrated to Canada and began walking the streets of Vancouver, documenting the people, the places, and the color compositions that they created together. At a time when art photography existed exclusively in black-and-white, he quietly traveled by foot around his adopted hometown, making forays into the United States, Barbados, Curaçao, Guatemala and Mexico, producing an astonishing body of color photographs that were not known to the world until he was 76 years old, in 2007, when The Vancouver Art Gallery held the first major retrospective of his work. Pictured here, “Mom and Son, Halifax” (1969) from new release Fred Herzog: A Color Legacy.
 CORY REYNOLDS | DATE 1/5/2026Untitled (Many-Eyed Form) (1945) is reproduced from new release The Lost World: The Art of Minnie Evans, published to accompany the exhibition on view now at Atlanta’s High Museum of Art. The first major survey of Evans’ divinely inspired works on paper since the 1990s, this is, amazingly, the only book in print on this important self-taught artist. “In March 1971,” curator Katherine Jentleson writes, “Minnie Evans sat for a rare interview with Celestine Ware, a Black feminist author and activist. At the time, Ware was producing a radio series on Black women artists, and she’d become fascinated by the work of Evans, who was still four years shy of her breakthrough solo show at the Whitney Museum of American Art but increasingly well known outside her home¬town of Wilmington, North Carolina. ‘What is the lost world of Minnie Evans?’ Ware asks near the end of the interview. Initially, Evans appears reluctant to answer: ‘I don’t know about that,’ she demurs. But Ware continues to press, and eventually, Evans relents, explaining that she has been experiencing visions her entire life, including ones involving the Great Flood described in the Book of Genesis. ‘Nations have been destroyed,’ she says. ‘And a lot of [the] pictures that God has given me [he’d] brought back from different nations […] according to the Bible there is thousands of nations that’s been destroyed and nobody knew anything about them.’”
 CORY REYNOLDS | DATE 1/1/2026“Desert Plant” (1965) is from Ruth Asawa: The Tamarind Prints, published as a gem-like accompaniment to the full career retrospective on view through February 7, 2026, at MoMA. Collecting the entire portfolio of 54 prints made by Asawa during a 1965 residency at the renowned Tamarind Lithography Workshop in Los Angeles, which have never been published before as a complete series, this elegant 64-page hardcover has been produced in celebration of the artist’s 2026 centennial. “Each material has a nature of its own,” Asawa is quoted in the book, “and by combining it and putting it next to another material, you change or give personality to it without destroying either one.… It’s the same thing that you don’t change a person’s personality, but when you combine them with other people, other personalities, they take on another quality.… The intent is not to change them, but to bring out another part of them.”
 CORY REYNOLDS | DATE 1/1/2026Tonight we’re gonna party like it’s 1977. “Studio 54,” by Waring Abbott, is from D.A.P. Best of 2025 Staff Pick I Hear Music in the Streets, ace photo editor Guillermo M. Ferrando’s cannot-put-it-down street photography collection, published by La Fábrica. Spanning the highly photogenic years 1969 to 1989, and touching down in every borough of the city, from the Bronx to Staten Island, this is a love letter to NYC subcultures, to music and to that ineffable, decisive moment in all great street photography. Featuring everyone from Andy Warhol to Susan Meiselas, Nan Goldin and Jamel Shabazz, it’s a book for every New Yorker with an eye or an ear for the people. “New York in the 1970s and 1980s, mythology has it, was a crumbling, crime-ridden, garbage-swamped disaster zone, a hellhole where nobody in their right mind would want to live,” essayist Tim Lawrence writes. “This version of New York history has been repeated so many times it’s become common sense. Yet the photos included in this book depict a city that, far from enduring a catastrophic and humiliating fall, brimmed with humanity, energy, even joy.”
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