Weekly New Releases

“And the basic notion is that we would respect the land. We would put people on the land in a way that they were inconspicuous. We would build architec¬ture that was not architectonic, that seemed natu¬ral in this place. Contemporary architecture, but . . . not destination architecture. And we weren’t going to build a recreational community for destination and play, but a meditative—a quiet, meditative community for ‘just folks,’ as I called them. Not special folks, just folks.” Back in print at last, The Sea Ranch: Architecture, Environment, and Idealism is the definitive and beloved monograph on Alfred Boeke’s pioneering 1960s master-planned community, built on a craggy, 10-mile stretch of Northern California coastline.

Maï Lucas reception and book signing at Dashwood Projects

Friday, April 10 from 6 to 8 PM, Dashwood Projects presents the opening reception of 'Maï Lucas: New York Days' and a book signing for 'Maï Lucas: All Eyes On Me,' published by Edition Patrick Frey. The show will be on view through May 23 at Dashwood's East Village gallery, located at 63 East 4th Street between Bowery and Second Avenue.

Artbook at Hauser & Wirth Los Angeles Bookstore presents Eve Wood and Shana Nys Dambrot on 'Diane Arbus Goes Shopping'

Saturday, April 11 at 3 PM PST, Artbook at Hauser & Wirth Los Angeles presents 'Diane Arbus Goes Shopping'—Eve Wood's four-part collection of poetry illustrated with her thirty-year signature series of darkly humorous drawings and paintings—new from DoppelHouse Press & Smart Art Press. A conversation between Wood and Shana Nys Dambrot will be followed by a book signing.

Join Artbook | D.A.P. at CONTACT Photobook Fair, Toronto

Saturday, May 2, from 11 AM–5 PM, please join us for the fifth edition of Toronto's CONTACT Photobook Fair, bringing together independent publishers and leading contemporary photographers from around the world to present newly released publications.

Featured spreads are from new release Still Life: A Photographer’s Journey Through Grief and Gardening, Jane Fulton Alt’s response to the sudden loss of her husband, whose garden she learned to tend from scratch as she moved through the stages of mourning. "I was never a gardener," she writes. "Then my husband died, leaving behind an extensive, newly planted native garden. His radical transformation of the green space around our home was stunning. He worked tirelessly and methodically as he pulled up our lawn and seeded a sanctuary. In the autumn of his life, he planted a garden for the future. I asked him one day, 'When you are gone, who is going to take care of these gardens?' He just looked at me and smiled. Little did I know these gardens were to be the greatest gift he could have given to me. The garden and the camera have been loyal and constant companions, a potent combination in adjusting to this new life. These photographs and thoughts represent the start of my journey."

With a distinctly empathetic gaze, Catherine Opie’s Portraits series (1993–7) captures the vibrancy and humanity of her Queer community. Inspired by sixteenth-century painter Hans Holbein the Younger, Opie constructs a royal family of her friends to challenge normative views of gender and sexuality. Sitters are depicted frontally against a solid background. For Opie, the visual language of courtly portraiture offers a rhetoric of liberation: “There was an equality to [Holbein’s] paintings—they weren’t demigod portraits, they were just incredibly detailed and real.” It is testament to Opie’s eye for nuance and the trust she builds with her sitters that she brings out such psychological complexity. Opie's photography redefines portraiture, probing the complex questions of who we are, how we present ourselves and why representation matters. Portraiture has always been about “being seen”—and a collaboration between sitter and portraitist to this end—but Opie has re-evaluated it as inclusive, intimate and reciprocal. “Chloe” (1993) is reproduced from Catherine Opie: To Be Seen, published to accompany the eponymous exhibition on view at the National Portrait Gallery, London, through May 31, 2026. The publication features more than 100 color images and a tactile quarter-bound cover, designed in close consultation with the artist.

Hiroshi Sugimoto is known throughout the world for his mastery in photography and architecture. But fewer people know that he has long been a collector (and once a dealer) of Japanese antiquities, in addition to practicing as a sculptor and maker in the performing arts. In 2009, he purchased a twelve acre citrus grove overlooking Sagami Bay on the coast of Odawara, Japan, and thereafter began the meticulous design and planning of his terrestrial celestial masterpiece, Enoura Observatory. In this new book designed by Takaaki Matsumoto, Sugimoto documents his journey, in context of his life as an artist, in a remarkably personal, genuine and subtly humorous style that is a pleasure to read. Pictured here, the rising sun seen through the stone torii gate of the Uchōten Tea House. Sugimoto had it built to greet the spring equinox.

melancholia in a snowy walk (2025) is from new release Uman: After all the things..., published to accompany the Mogadishu-born artist’s first solo museum exhibition, on view now at the Aldrich Contemporary Art Museum. Clothbound with beautiful foil stamping of the artist’s hand-drawn cover, this is also the first major book about her work. Uman “compares the ‘heaven’ of the secluded beauty of Turkana, one of the oldest regions on the planet and where she spent time as a child with an aunt, to her surroundings now in the tiny rural town in upstate New York where she has lived for fifteen years,” Amy Smith-Stewart writes. “These two places on opposite sides of the globe and in starkly contrasting environments serve as her muses and guideposts. As gateways to other realms, geography and time in Uman’s art are fluid and elastic. Abstract and symbolic descriptions drift and circulate sinuously. The power of her vision is its capacity to feel and adapt so deeply and intuitively.”

“Feet, what do I need you for when I have wings to fly?” Frida Kahlo asked in 1953. Featured photograph—taken in in the library of the Blue House, Coyoacán, Mexico City, by Kahlo's nephew Antonio in 1949—is from Frida Kahlo: Her Universe, available in English and Spanish language editions by RM. “Saint, muse, lover, beloved, bisexual, victim and survivor,” essayist Circe Henestrosa writes: “Frida Kahlo is the model of the bohemian artist; unique, rebellious and contradictory, a cult figure appropriated by feminists, artists, fashion designers and mass culture. From Mexico to San Francisco, Paris to New York, Frida continues to cause a sensation with her enigmatic, seductive gaze and deep brown eyes which, dominant yet fragile, pull the viewer indelibly into them. Framed by the personal stamp of her unmistakable eyebrows and Tehuana dress, Frida has everything necessary to have become one of today’s best-known idols.”

Featuring 150 color reproductions of artworks and ephemera alongside documentary photographs and portraits of the artist, Helen Frankenthaler: Painting without Rules examines the important Abstract Expressionist’s work and life in context of her influences and friendships—including Robert Motherwell, Kenneth Noland, Jackson Pollock, Mark Rothko and Anne Truitt. “Friendship is pivotal to this project,” Douglas Dreishpoon writes. “It is another way to see and contextualize Frankenthaler’s own innovations. The painter chose her inner circle carefully, and those fortunate enough to be included were nurtured, feted, and sustained. As friends they visited one another’s studios, attended openings, celebrated successes, and kept up with life events. When tragedy struck, they came together to commiserate. Before fax machines, computers and email, Frankenthaler and her friends wrote to each other, sharing life’s ups and downs through chatty, at times serious, letters, postcards and notes.” Featured painting is “Western Dream” (1957).

My Grandparents, My Parents, and I (1936) illustrates the transnational roots of Frida Kahlo’s family tree. Kahlo’s maternal grandparents, of mixed Indigenous and Spanish descent, are projected above the Mexican mountain ranges while her German paternal grandparents float over the Atlantic Ocean. Kahlo painted this work a year after Nazi Germany enforced the Nuremberg Race Laws—in effect stripping German Jews of their civil rights and prohibiting interracial marriage—falsely substantiated by a genealogical chart that determined who was Jewish according to bloodlines. Kahlo’s interpretation of a family tree is a counter to such violent, supremacist ideas. Today, as we see families ripped apart due to their national origin, Kahlo’s work takes on a profound new dimension as a denunciation of state violence and imposed borders. My Grandparents, My Parents, and I is reproduced from Frida Kahlo: Self-Portrait with Cropped Hair, forthcoming from the Museum of Modern Art, New York, to accompany Frida and Diego: The Last Dream, on view at MoMA through September 12, 2026. This expanded hardcover edition of the MoMA classic includes additional illustrations and photographs, and features a die-cut front cover.

Featured image, of Tom Lloyd on the opening night of his solo show Electronic Refractions II—the inaugural exhibition at the Studio Museum in Harlem, 1968—is from Tom Lloyd, the exhibition catalog to the museum’s current exhibition, which closes March 22 to great critical acclaim. “An early pioneer of using electric light as an artistic medium, Tom Lloyd developed a highly experimental and technologically advanced art practice in the 1960s that set him apart from many of his fellow artists,” curator Connie H. Choi writes. “Employing a purposely limited but defined vocabulary of colors, forms, and shapes, Lloyd challenged not only understandings of art at the time but, perhaps more important, the definition of art made by Black artists. He thereby promoted a relationship between abstraction and blackness that was greatly debated during the 1960s, and one that continues to animate conversations around artistic practices.”

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