Though he is best known as a writer and director, David Lynch has long been dedicated to photography. This volume is the second installment of Lynch’s series of photographic explorations of the female figure. Digital Nudes brings together a corpus of previously unpublished digital images in line with the aesthetics of the first volume’s analog photographs, while experimenting with the possibilities offered by digital technology.
Kaleidoscopic visions of legs, arms or inscrutable landscapes of soft skin, chiaroscuro portraits where the stark lighting cuts across his subjects as cleanly as a knife, images of varnished nails and lacquered mouths all appear—the American . . . .go to book page >>

In Communes, French photographer Raymond Depardon (born 1942) explores the villages of the Mediterranean inland region, in the South of France. These villages have long been abandoned, threatened by the Nant concession,” a shale gas extraction project that was heavily protested by inhabitants and finally abandoned in 2015. Since then, the villages, with their cobbled streets and old houses with jagged facades and scanty windows, have once again become inhabited by people. The villages represent havens where tranquility and cool prevail.
The black-and-white photographs that comprise this work were made after the first lockdown, during the summer of 2020, a backdrop . . . .go to book page >>

Japanese architect Junya Ishigami (born 1974) sees his architectural masterworks as landscapes in and of themselves rather than mere accessories to the land. At the heart of his design ethic are several guiding concepts: lightness, transparency, simplicity and communion with nature. This publication delves into the extraordinary exhibition staged by Ishigami at the Fondation Cartier pour l’art contemporain in 2018. The first large-scale solo show devoted to an architect at the Fondation Cartier, Freeing Architecture is a dreamlike collection of large-format models, sketches and photographs that highlight the freedom and fluidity inherent in Ishigami’s designs and his specific consideration of . . . .go to book page >>

With 107 new works, Cherry Blossoms marks a new chapter in Damien Hirst’s career-long exploration of the physical relationship between artist and canvas that began with his Spot Paintings in 1986. Hirst describes his cherry blossoms as garish and messy and fragile”; the series signals a shift in Hirst’s career away from minimalism and “the imagined mechanical painter” toward a painting that delights in the potential haphazardness of the medium, as well as the artist’s own fallibility as a creator. Rich in color and striking in number, Hirst’s Cherry Blossoms are both an appropriation and a tribute to the pictorial art of the 19th and 20th centuries.
Damien Hirst (born 1965) rose to prominence in the 1990s as one of the Young British Artists, garnering attention for his controversial site-specific pieces. A 1989 graduate of Goldsmiths College, Hirst was awarded the Turner Prize in 1995. Now one of the contemporary art world’s most famous figures, Hirst continues to surprise audiences with a staggering diversity of work, ranging from sculpture and painting to installation and performance art. In 2012, a retrospective of his nearly 30-year career was staged at Tate Modern. Hirst is represented by Gagosian.

Though he has engaged with a variety of mediums—watercolor, photography, sculpture—Brazilian artist Luiz Zerbini (born 1959) has devoted the past several years to the creation of monotypes. He selects leaves, flowers and branches for their distinctive shapes and textures and places them on an inked metal plate. He then lays a large sheet of paper over the plate so that the botanical compositions are transferred onto the page. The result is a large-scale monotype print that immerses the viewer in the minute details of a plant’s anatomy.

High contrast, with a minimal palette of browns, blacks and greens, these images blur . . . .go to book page >>

American artist Sarah Sze (born 1969) exhibited her first solo show at the Fondation Cartier pour l’art contemporain at the turn of the millennium; two decades later, she returns to the exhibition spaces of Jean Nouvel’s iconic building in the midst of a similarly contentious global environment with two new sculptures specially created for the occasion.

These pieces explore how the contemporary proliferation of images—via print and pixel, from deep space to the deep web—fundamentally changes our relationship to time, memory and the physical presence of objects. This catalog was designed in close collaboration with the artist, detailing the execution of . . . .go to book page >>