Gregory R. Miller & Co./Aspen Art Press

Mark Bradford: Merchant Posters

This book gathers for the first time an extensive selection of American artist—or builder and demolisher,” as he describes himself—Mark Bradford's gorgeous, searing and heavily textured merchant posters.” The original printed posters, collected by Bradford from around his Central Los Angeles neighborhood, are brightly colored local advertisements that target the area's vulnerable lower-income residents. For Bradford, they serve as both the formal and conceptual underpinnings of his works on paper, décollages/collages that engage with the pressures of the cityscape. The sheer density of advertising creates a psychic mass, an overlay that can sometimes be very tense or aggressive,” he notes; If there's a 20-foot wall with one advertisement for a movie about war, then you have the repetition of the same . . . . Hbk, 11 x 9 in. / 160 pgs / 100 color.

Text by Malik Gaines, Ernest Hardy, Philippe Vergne, Heidi Zuckerman Jacobson.

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JRP|Editions

A Brief History of Curating

By Hans Ulrich Obrist

Part of JRP|Ringer's innovative Documents series, published with Les Presses du Réel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field--from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, . . . . Paperback, 6 x 8 in. / 200 pgs.

Edited by Hans Ulrich Obrist.

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JRP|Editions

Jim Shaw: My Mirage

A bricoleur of uniquely American utopian/dystopian cosmologies, Jim Shaw (born 1952) weds themes from American religious history with motifs from 1960s and 70s counterculture, often coining rubrics--such as his invented religion of O--or series under which to unify these narratives. My Mirage is Shaw's earliest sequence of this kind. Conceived between 1986 and 1991, arranged in chapters and constituted of nearly 170 works--drawn, silk-screened, photographed, sculpted, filmed or painted in a different style--My Mirage recounts the wanderings of Billy, a white, middle-class American sucked into the whirlwind of the 1960s and 70s counterculture. An anxious and withdrawn youth consumed by psychotic hallucinations, Billy joins a psychedelic pagan cult, eventually and inevitably returning to the religion of his youth, reborn” as a . . . . Pbk, 8.25 x 10.25 in. / 240 pgs / 150 color.

Edited by Lionel Bovier, Fabrice Stroun. Text by Fabrice Stroun.

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JRP|Editions

A Brief History of Curating

By Hans Ulrich Obrist

Part of JRP|Ringer's innovative Documents series, published with Les Presses du Réel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field--from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, . . . . Paperback, 6 x 8 in. / 200 pgs.

Edited by Hans Ulrich Obrist.

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Pomona College Museum of Art

It Happened at Pomona

Art at the Edge of Los Angeles 1969-1973

From 1969 to 1973, a series of radical art projects took place at the far eastern edge of Los Angeles County at the Pomona College Museum of Art, in Claremont, California. Here, Hal Glicksman, a pioneering curator in Light and Space art and former assistant to Walter Hopps, and Helene Winer, later the director of Artists Space and founder of Metro Pictures gallery in New York, curated landmark exhibitions by young local artists who bridged the gap between postminimalism and Conceptual art and presaged the development of postminimalism in the late 1970s. Among these artists were Bas Jan Ader, Michael Asher, Mowry Baden, Lewis Baltz, Chris Burden, Judy Chicago, Ger van Elk, Jack Goldstein, Robert Irwin, William Leavitt, John McCracken, Allen . . . . Pbk, 9 x 13 in. / 386 pgs / 120 color / 160 b&w.

Edited by Rebecca G. McGrew, Glenn R. Phillips, Marie Shurkus. Text by Thomas Crow, David Pagel.

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D.A.P.

Handmade Utopia

Back-to-the-Land Architecture in Northern California

Published with Edition Patrick Frey.

Half a century ago, a legion of young idealists dropped out of society and went back to the land,” creating a patchwork of utopian communes across Northern California. Handmade Utopia: Back-to-the-Land Architecture in Northern California tracks down the rogue souls still committed to this way of life, capturing their handbuilt, otherworldly residences alongside the stories of how they came to be—at what is now the tail end of one generation’s grand social experiment. Handmade Utopia travels the length of Northern California, which formed the epicenter of the movement, journeying down hidden dirt roads and deep into redwood forests to discover handmade homes kept hidden for decades. Michael Schmelling’s photography documents how these structures appear today and David . . . . Pbk, 9 x 12 in. / 496 pgs / 769 color / 15 b&w.

Edited with text and oral histories by David Jacob Kramer. Foreword by Jentri Anders. Photographs by Michael Schmelling.

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The Museum of Modern Art, New York

Taking Back Our Space: Photographic Perspectives

With startling foresight and radical clarity more than 50 years ago, German artist Marianne Wex (1937–2020) photographed women and men on the streets and in public spaces throughout her hometown of Hamburg. She then categorized thousands of these images based on the positions of subjects’ arms, legs, feet, hands and heads, along with rephotographed images from magazines, newspapers and other print sources—creating a singular taxonomy of the ways in which women and men move differently through the world. First shown in Berlin in 1977, Let’s Take Back Our Space: Female” and Male” Body Language as a Result of Patriarchal Structures is a revolutionary visual archive and a bracing feminist take on gender, photography and society.
Taking Back Our Space: Photographic Perspectives brings . . . . Pbk, 9.5 x 12 in. / 176 pgs / 100 color.

Edited with text by Roxana Marcoci, Caitlin Ryan. Conversations with Marianne Wex, Nona Faustine, Martine Gutierrez, K8 Hardy, Yuki Kihara, Joiri Minaya, Paulina Olowska, Wendy Red Star.

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Pre-Echo Press

Miyoko Ito: Heart of Hearts

A New York Times 'Best Art Books of 2023' pick

The result of several years of research, Heart of Hearts is the first book dedicated to the life and work of Japanese American artist Miyoko Ito. Ito was born in Berkeley, California to parents of Japanese descent and educated at the University of California, Berkeley, where she studied watercolor. A month before her graduation, in 1942, Ito was sent to the Tanforan Assembly Center, an internment camp south of San Francisco. Released several years before her husband, she transferred to the School of the Art Institute of Chicago but never graduated. Unlike the other "Allusive Abstractionists" with whom Ito was loosely associated, her geometric compositions often evoke landscapes, interiors and the . . . . Pbk, 9.5 x 11.5 in. / 460 pgs / 160 color / 13 b&w.

Edited with text by Jordan Stein. Interview by Kate Horsfield.

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Bêka & Partners

The Emotional Power of Space

How does space affect our physical, psychological and emotional state? Artists Ila Bêka and Louise Lemoine, founders of the eponymous French studio known for its films and books, seek to answer this question through lively and intimate conversations with 12 renowned architects for whom perception and sensoriality play a central role in their work. Our films seek to capture the spontaneous, intuitive reactions of anonymous people who inhabit, adapt, endure or enjoy spaces they didn’t necessarily choose but which condition their lives,” the artists write in the book’s foreword. The 12 architects they speak with—some strangers, some old friends—discuss their own personal embodiment of space and how it relates to their practice; in other words, "what moves them in architecture.” Currently . . . . Pbk, 5.5 x 8.25 in. / 224 pgs.

Edited with text by Ila Bêka, Louise Lemoine.

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Strandberg Publishing

Descendant: Lars von Trier and Nordic Art

“My idea is to satisfy myself with a collage of images that together represent my youthful, naïve, if you will, love for primarily Nordic artists and their followers, as a kind of interwoven tapestry that can be viewed both as a whole and in detail.” This is how Danish film director Lars von Trier (born 1956) introduces his curatorial project, Descendant, staged at the Willumsen’s Museum and the Thiel Gallery. The accompanying catalog unfolds with an array of works from 19th- and 20th-century Nordic and continental European artists—August Strindberg, Caspar David Friedrich, Edvard Munch, J.F. Willumsen, Paul Gauguin, Per Kirkeby, Rudolph Tegner and Vilhelm Hammershøi—and traces their visual influences on von Trier’s feature films such as Melancholia, Breaking the Waves and . . . . Hbk, 8.5 x 12.5 in. / 240 pgs / 120 color.

Edited by Anne Gregersen. Text by Lars von Trier, Karl Ove Knausgård, Lilian Munk Rösing, Anette Rosenvold Hvidt, Erik Steffensen.

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DelMonico Books

Black American Portraits

From the Los Angeles County Museum of Art

Published with Los Angeles County Museum of Art.

Spanning over two centuries from around 1800 to the present day, Black American Portraits chronicles the ways in which Black Americans have used portraiture to envision themselves in their own eyes. Remembering Two Centuries of Black American Art, curated by David C. Driskell at LACMA 45 years ago, this book is a companion to the exhibition of the same name that reframes portraiture to center Black American subjects, sitters and spaces. This selection of approximately 140 works from LACMA’s permanent collection highlights emancipation, scenes from the Harlem Renaissance, portraits from the Civil Rights and Black Power eras, multiculturalism of the 1990s and the spirit of Black Lives Matter.
Countering a visual culture that often demonizes . . . . Hbk, 9 x 12 in. / 224 pgs / 222 color.

Edited with text by Christine Y. Kim and Myrtle Elizabeth Andrews. Forewords by Mary Schmidt Campbell and Michael Govan. Text by Hilton Als, Bridget R. Cooks, Ilene Susan Fort, Dhyandra Lawson, Jeffrey C. Stewart. Afterword by Naima J. Keith.

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Kerber Verlag

Albert Scopin: Chelsea Hotel

From 1969 to 1971, the photographer and filmmaker Albert Scopin lived in the creative soul of New York, the Chelsea Hotel. An assistant to photographers and fellow residents Mikel Avedon and Bill King, the young Scopin began to document the hotel's lively goings-on as discreetly as possible, aiming for an unfiltered view of its inhabitants. His resulting images depict an as-yet-unknown Patti Smith and Robert Mapplethorpe as a fledgling couple; film directors Wim Wenders, Rosa von Praunheim, Milos Forman and Jonas Mekas; a staged production by the Warhol crowd; a raucous basement party thrown by the hotel staff; and occupants contemplating the future up on the roof. Chelsea Hotel presents Scopin's diaristic photographs in book form for the first time. The . . . . Pbk, 8.25 x 10.25 in. / 176 pgs / 118 color.

Edited with text by Albert Scopin. Text by Michael Stoeber.

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Lars Müller Publishers

Operating Manual for Spaceship Earth

Buckminster Fuller (1895–1983) was an architect, engineer, geometrician, cartographer, philosopher, futurist, inventor of the famous geodesic dome, and one of the most brilliant thinkers of his time. For more than five decades, he set forth his comprehensive perspective on the world’s problems in numerous essays, which offer an illuminating insight into the intellectual universe of this renaissance man. These texts remain surprisingly topical even today, decades after their initial publication. While Fuller wrote the works in the 1960’s and 1970’s, they could not be more timely: like desperately needed time-capsules of wisdom for the critical moment he foresaw, and in which we find ourselves. Long out of print, they are now being published again, together with commentary by Jaime Snyder, the . . . . Pbk, 4.75 x 7.5 in. / 152 pgs / 7 images.

By R. Buckminster Fuller.

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Exact Change

Give My Regards to Eighth Street

Morton Feldman (1926–87) is among the most influential American composers of the 20th century, a man whose music is known for its extreme quiet and delicate beauty (while Feldman himself was famously large and loud). Karlheinz Stockhausen once asked the composer what his "secret" was: "I don't push the sounds around," Feldman replied. His writings resemble his music in their quiet steadiness, their oscillations between assertion and doubt. They are also funny and illuminating, not only about his own music but about the entire New York School of painters, poets and composers that coalesced in the 1950s, including Feldman's friends Jackson Pollock, Philip Guston, Mark Rothko, Robert Rauschenberg, Frank O'Hara and John Cage. Give My Regards to Eighth Street is an . . . . Pbk, 6 x 8 in. / 256 pgs.

By Morton Feldman.

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Set Margins’ publications

Beyond the Image: On Visual Culture in the Twenty-First Century

From brainrot to deepfakes, from NFTs to AI slop, the function of the image in contemporary life has devolved from representation to the reproduction of capital, resulting in our Baudrillardean hyperreality. From the Kardashians to Donald Trump, from Pepe the Frog to Paris Hilton, the nihilism of the image is trending right now. Beyond the Image is an attempted revaluation of visual culture in the age of video monetization and artificial intelligence. Across a collection of essays, the book makes a case for the continued aesthetic and epistemological significance of the image.
Italian writer and editor Alessandro Sbordoni (born 1995) is the author of Semiotics of the End: On Capitalism and the Apocalypse (Institute of Network Cultures, 2023) and The Shadow of . . . . Pbk, 4.75 x 7.5 in. / 112 pgs / 26 color.

By Alessandro Sbordoni.

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Set Margins’ publications

Ninety-Nine Graphic Design Workshops

The Way We Attend to Things

We live in a moment when our everyday experiences are distracted by a cynical attention economy; as such, there is an urgent need for a new kind of vigilant attention. In other words, how we experience the world depends on the ways we attend to it. The workshops in this book are practical challenges to the ways we think about the world we live in. Without relying on specialist equipment or subject-specific knowledge, they give clear instructions about how to be mindful of the real world in unusual ways. From the informal and playful to the critical and insightful, each workshop finishes with a diverse list of recommended further reading that extends well beyond the designer's traditional bookshelf. With contributors ranging . . . . Hbk, 6.5 x 8.75 in. / 350 pgs.

Edited by James Dyer, Nick Deakin. Preface by Nick Deakin. Afterword by James Dyer. Text by Adam Cruickshank, Adam Griffiths, Afonso de Matos, Aggie Toppins, Aidan Nolan, Tobias Larsen, et al.

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Gregory R. Miller & Co.

Solid Pictures: Photosculpture and the Making of Modern Likeness

Published with Cantor Arts Center, Stanford University.

Automated three-dimensional modeling is older than you might think. As early as 1859, François Willème sought to make domestically scaled portrait sculpture for the Second French Empire’s burgeoning middle class. Using an elaborate system of synchronized projection technologies and mechanical instruments, Willème translated the photographic information of silhouette profiles into solid figures in a variety of mediums which he promised to clients in as few as 48 hours. Though these initial experiments proved a commercial failure, they would nevertheless profoundly influence the technologies of scanning and printing that are ubiquitous today. Lavishly illustrated with rare surviving examples of photosculpture, Solid Pictures includes a trove of previously unpublished material including patents, photographic plates and other ephemera.

. . . . Flexi, 9 x 10.75 in. / 152 pgs / 130 color / 60 b&w.

Edited by Patrick R. Crowley. Foreword by Veronica Roberts. Text by Emerson Bowyer, Martina Droth, et al.

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DelMonico Books

Leilah Babirye

Published with Institute of Contemporary Art, Boston.

The evocative, adorned sculptures—made from wood and ceramics—of Ugandan artist Leilah Babirye (born 1985) foreground the inventive reuse of debris. She repurposes the metal gears and chains of bicycles to create elaborate headdresses, jewelry and braids, and the rubber inner tubes of bicycle tires to form long tresses.
In this volume, Babirye discusses the origins of her practice and artistic development in conversation with Margaret Nagawa, the artist’s former professor. Curator Natasha Becker analyzes Babirye’s work in the context of African sculptural practices and contemporary art, representing the most significant scholarly engagement with the artist’s work to date. For Babirye, who fled Uganda after being outed as gay, this exhibition and catalog continue her commitment to . . . . Hbk, 8 x 10.25 in. / 112 pgs / 75 color.

Edited with text by Ruth Erickson. Foreword by Nora Burnett Abrams. Text by Natasha Becker, Max Gruber, Margaret Nagawa, Leilah Babirye.

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Gregory R. Miller & Co.

RAW: Recognition of Art by Women

In Retrospect

Published with Norton Museum of Art.

The Recognition of Art by Women series began at the Norton Museum of Art in 2011 in an effort to recognize and promote living women artists through solo exhibitions. Now in its 10th iteration, Recognition of Art By Women: In Retrospect reflects the series' impact, illustrating the breadth of talent the series brought to light through a selection of work by 10 women artists.
This volume features artworks by all the artists who have participated in the RAW series at the Norton: Jenny Saville, Sylvia Plimack Mangold, Phyllida Barlow, Klara Kristalova, Njideka Akunyili Crosby, Svenja Deininger, Nina Chanel Abney, María Berrío, Rose B. Simpson and Danielle Mckinney. Alongside individual artworks and installation shots, the volume features reflections . . . . Hbk, 7.75 x 10.25 in. / 128 pgs / 78 color.

Foreword by Ghislain d’Humières. Text by Cheryl Brutvan, Arden Sherman, Katy Hessel, J. Rachel Gustafson, et al.

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Marian Goodman Gallery

Francesca Woodman: Alternate Stories

This elegant volume presents more than 40 vintage photographs by the pioneering American photographer Francesca Woodman (1958–81), many of which have never before been seen. These photographs span the creative arc of the artist’s life, focusing on the varied thought processes, interests and influences that inspired her work.
Clustered thematically, Francesca Woodman: Alternate Stories highlights previously unexplored relational contexts, drawing deeply on Woodman's formative years in Providence, Rhode Island, and Italy, and featuring previously unpublished photographs and archival materials.
In the newly commissioned essay Impure Alchemy,” critic and novelist Chris Kraus explores Francesca Woodman’s life via her work, drawing upon her journals and letters as primary source materials, and exploring the technical means and literary strategies that animate Woodman's works.
Francesca Woodman: Alternate Stories . . . . Hbk, 8.75 x 11.25 in. / 88 pgs / 1 color / 55 b&w.

Text by Chris Kraus.

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