Weekly New Releases

“The Last Thanks” (2006) is reproduced from Wendy Red Star: Her Dreams Are True, published to accompany the exhibition on view now at The Trout Gallery at Dickinson College in Carlisle, Pennsylvania. “Red Star’s living body disrupts the settler-colonial gaze by refusing both disappearance and static representation,” Darren Edward Lone Fight writes; “instead, she occupies the ceremonial center with deliberate presence, her traditional regalia not a costume but a declaration of cultural continuity. … By placing herself at the center, alive, solemn and unflinching, she reclaims the visual field, an act of sovereignty that insists upon the living continuity of Indigenous presence, even in a space overrun by the plastic monuments of settler mythmaking.”

Wes Anderson: The Archives—the first major museum retrospective of the iconic American filmmaker’s output—is on view now at The Design Museum in London, and we are thrilled to distribute the catalog, a new release this week. Drawn from Anderson’s personal archive, amassed over thirty years of groundbreaking films known for their inimitable aesthetic and sense of humor, this exhibition contains everything from props, sets and costumes to notebooks, drawings, Polaroids and paintings. Featuring contributions from more than a dozen of Anderson’s collaborators, including Scarlett Johansson, Tilda Swinton, Roman Coppola and Jason Schwartzman, it is the first book to be produced in close partnership with Anderson. Pictured here, Steve Zissou’s Adidas shoes and red hat from The Life Aquatic with Steve Zissou (2004); photographs by James Hamilton of Anderson, Anjelica Huston and Owen Wilson on the set of The Royal Tenenbaums (2001); and Anderson’s notebooks from Moonrise Kingdom (2012) and The French Dispatch (2021).

Artbook at Hauser & Wirth Los Angeles Bookstore presents Kelli Anderson and Claire L. Evans launching 'Alphabet in Motion'

Sunday, November 30, from 3–5 PM, Artbook at Hauser & Wirth Los Angeles presents author, designer and educator Kelli Anderson in conversation with Claire L. Evans for the launch of the remarkable pop-up book 'Alphabet in Motion: How Letters Get Their Shape,' published by Katherine Small Gallery.

“When I first handled clay … I can’t explain it. It might have felt like someone who was holding their baby for the first time. Immediately, something happened to me. I don’t know why I’m making what I’m making … I have no clue. I don’t know what it’s going to be.” So said the sculptor, activist and Church of the Open Door minister Reverend Joyce McDonald in 2024. A former performer and addict who tested positive for H.I.V. in 1995, the Reverend Joyce McDonald now counsels women in prison and shelters, while exposing and unearthing her own traumas and triumphs in clay. Her work is the subject of a major exhibition at the Bronx Museum, on view through January 11, 2026. Pictured here, one of several figures titled Halleluya Ladies (1998).

Some books, you flip through and you know immediately what they are. Others, you flip, you stop, you read, you look. You start over, emotions rising. You remember the most poetic moments in your own life. You remember fascination, infatuation, love, young friendship. Then also complexity, distance, yearning. Paul Thek and Peter Hujar: Stay away from nothing, releasing this week from Primary Information, is a book that sparks all of these deep feelings of future and past. Collecting contact sheets and photographs—both candid and composed—by Hujar alongside previously unpublished letters, postcards, drawings and items of ephemera by Thek, this deeply moving book presents a record of friendship, romance and creation across decades and continents. In his Afterward, Andrew Durban describes the years when both men were undertaking tremendous artistic leaps, “often in orbit of one another. Thek became a celebrated—if virtually unsellable—artist, and Hujar established himself in commercial photography. On his way to becoming one of the greatest portrait artists of all time, Hujar often photographed Thek, using him as a kind of testing ground for ideas.… His pictures captured the man who was his friend, lover, and brother, as well as Thek’s art. …Tender and introspective, these photographs are the most substantial documentation of a work now lost.” Conversely, “Thek regarded Hujar as more than a correspondent—he was a kind of sounding board. In his letters to Hujar, Thek hashed out ideas … confessed his deepest feelings about his work and state of mind. For a while, Thek craved any word from Hujar; a letter from him, especially when Thek was living abroad, grounded him. ‘You are a good strong brother,’ he wrote to Hujar, ‘and I take you with me wherever I go.’”

When graphic designer and paper engineer Kelli Anderson came to our offices a few years ago to explain her idea for a 2-volume, 9.5 x 12-inch pop-up book featuring some of the most complex, sculptural, and yet playfully interactive examples of type design ever conceived by persons sane or insane, now or ever, our first thought was: impossible. Second thought: magical; how many can we get? Pictured here, the letter A, along with a description of the letter’s evolution from an ancient Egyptian pictogram dated 3100 BCE; a 3D rendering of Noordzij’s Cube, showing how slight changes affect a single letterform; a mobile-phone-powered projector that allows for undulating variations of the letter J; and interpolated Ps. Along with 13 other pop-ups, this astonishing and equally fascinating publication also features an interactive cover that allows the reader to toggle from the letter A to the letter Z with the satisfying swipe of a single finger.

With voluminous hair and an adoring Eros around her neck, the mystique of Candy Darling is rendered in doll form in this enigmatic work by Greer Lankton (1958–1996). Darling is only one of many characters depicted in Greer Lankton: Could It Be Love, the first-ever monograph on this visionary trans artist and a thorough labor of love from publisher Magic Hour Press. Not only fabricated, but photographed, by Lankton herself, the images narrate her community’s fraught relationship with the body, their grotesque forms weaving together autobiographical narratives of disordered eating, depression, drug addiction and AIDS. With garish expressions, irreverent confidence and dark humor, the characters—both famous figures and original creations—tell a visual story of both Lankton’s own psyche and the 1980s East Village scene. Even among that illustrious circle, which included Peter Hujar, David Armstrong and Nan Goldin (who contributes an essay to this book), Lankton was a thrilling artist, who had obsessively perfected her dollmaking skills as an escape into others’ lives since childhood. Hilton Als puts it succinctly in his essay, describing, “her dolls’ attenuated limbs stretching this way and that, and those incredible faces, the manifestation of some dream of femaleness, usually, that reflected Greer’s own ideas about her own femaleness, a hard journey that didn’t make her any happier but gave her herself, a maker of females in her own emotional image.”

“Desert Plant” (1965) is from Ruth Asawa: The Tamarind Prints, published as a gem-like accompaniment to the full career retrospective on view now 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.”

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