Art Books

Klein’s madcap romp of a photo-novel brilliantly translates his cult ’60s film into book form.

Based on the original images and dialogue of William Klein’s 1966 film Who Are You, Polly Maggoo?, this fantastic photo-novel tells the adventures of Polly Maggoo, a star model played by Dorothy McGowan (model for Vogue in the 1960s). The plot unfolds across the fashion world of Polly Maggoo; the world of television (based around the character of director Jean Rochefort); and a magical kingdom of operetta whose crown prince (played by Sami Frey) is in love with the young model. Also featuring in this star-studded cast are Alice Sapritch, Delphine Seyrig, Philippe Noiret, Roland Topor and Jacques Seiler.
The publication ingeniously translates into book form the zany universe of the film. Klein’s masterful framing gives exquisite rhythm to its page composition and flow as we follow the crazy adventures of the extraordinary heroine in a madcap race through the streets and rooftops of Paris, all the way up to a distant palace lost in the snow.

A complete survey of Marshall's prints from the 1970s to the present, with many previously unseen works

Kerry James Marshall is famed for his beautifully executed paintings that address the under-representation of the Black figure in the Western pictorial tradition. Though best known as a painter, Marshall has throughout his career also produced a vast graphic oeuvre that has been seldom seen and rarely documented. Marshall spent his youth building his craft in drawing and painting, but also in wood engraving and printing; by his mid-twenties, he recalls, "I could do woodcuts, etchings, aquatints." Most of his prints have been produced not in professional print workshops but by the artist, working alone in his studio. They range from images the size of postcards to his 50-foot-long, 12-panel woodcut Untitled (1998-99), to iterations of his ongoing magnum opus Rythm Mastr. And while some have entered prominent museum collections, many exist only in private collections or the artist's archive and are unknown to the public. This catalogue raisonné offers the first public account of these important works and the first in-depth study of the role of printed images and print processes in Marshall's work as a whole.
Kerry James Marshall was born in Birmingham, Alabama, in 1955, later moving to Los Angeles. He taught painting for many years at the School of Art and Design at the University of Illinois at Chicago. In 2013, he was named for the Committee on the Arts and the Humanities by President Barack Obama. In 2017, Marshall was included on the annual Time 100 list of the most influential people in the world. The National Cathedral in Washington, DC, is currently working with Marshall to create two new stained-glass windows. Marshall lives and works in Chicago.

The definitive look at two decades of work by Austin-based artist Deborah Roberts (born 1962) with newly commissioned texts and a thorough dive into her archive, this monograph offers a comprehensive view of one of today’s most significant social observers. An extensive plate section is accompanied by a heartfelt foreword from Dawoud Bey on "the tragic mischaracterization of Black children"; an insightful essay from Ekow Eshun on the social and political histories of innocence, race and the fractured nature of the contemporary Black experience; a celebratory tribute from author and artist Carolyn Jean Martin on the musicality, humility and generosity of Roberts’ practice; and a free-ranging conversation between Roberts and cultural historian Sarah Elizabeth Lewis.
By using images from American history, Black culture, pop culture and Black history, Roberts critiques perceptions of ideal beauty and challenges stereotypes. She combines found and manipulated images with hand-drawn and painted details to create hybrid figures, often young girls and increasingly Black boys, whose well-being and futures are equally threatened because of the double standard of boyhood and criminality that is projected upon them at such a young age. Each child has character and agency to find their own way amid the complicated narratives of American, African American and art history.

The ultimate backstage pass: a photographic inside look at the making of the pioneering hip hop documentary Rhyme & Reason.

In the mid-1990s, documentary filmmaker Peter Spirer embarked on a three-year odyssey to create a realistic portrait of hip hop, interviewing over 80 artists. Spirer captured a seminal moment as the culture balanced on the cusp of the mainstream. As Ice-T comments in the introduction to the book, "Rhyme & Reason is one of the few films that was there to document us before hip hop truly exploded."
While filming, Spirer took stills using a medium-format Rolleiflex camera. These photographs form The Book of Rhyme & Reason. Spirer writes: "The Rollei allowed me to capture some amazing moments: Puffy getting a trim in his office while doing three tasks at once, Biggie opening record plaques on his couch, Ice-T and Mack 10 hanging with their homies, Heavy D at the barber, playing pool. There was the Jack The Rapper convention with Death Row making a statement, at a Disney World Hotel, that ended in chaos. There were magical moments such as Redman and Erick Sermon freestyling on the mic to amazed onlookers at a block party in Newark and watching Wu-Tang Clan chop it up on the block in Staten Island on a cold winter's day before they exploded."
This coffee-table volume features over 130 of Spirer's photographs from 1994 to 1997.

Dreamy, intimate portraits of the LGBTQ creatives energizing Mexico City’s art and design culture.

Through her reportage, fashion and portrait work, Israeli Moroccan photographer Mayan Toledano shares the stories of her queer community, exploring their interior lives with empathy and respect. Characterized by their colorful dreaminess, her portraits often capture her young subjects in their bedrooms.
Although Toledano is based in New York, she has found herself increasingly drawn to Mexico City, a place she considers a creative safe haven. No Mames pays tribute to the local LGBTQ artists, designers and creatives who are currently contributing to Mexican culture—many of whom are couples, roommates or childhood friends. The series’ portraiture follows a twofold process: first, she captures her subjects as they present themselves in everyday life; then, she photographs them as they would like to appear, facilitating the construction of their fantasy selves. This collaborative act of wish fulfilment sometimes coincides with real-life transformations: for instance, she follows one of her subjects, Havi, over the course of her gender transition, during which she underwent breast augmentation surgery.
From reportage to fashion to portraiture, the work of photographer Mayan Toledano is characterized by a strong sense of humanity, empathy, femininity and rebellion.

Our thoughts are known to us, and us alone. But for a brief period in the 1960s, Ted Serios (1918–2006) attempted to prove that his inner reality could be documented. Serios demonstrated an ostensibly psychic act termed “thoughtography,” involving the transfer of mental images onto undeveloped Polaroid film. In studies supervised by respected Denver-based psychiatrist Dr. Jule Eisenbud, Serios produced over 1,000 anomalous photographs, a feat that has never been fully dismissed or wholly verified. Existing as an uncomfortable knot in time, the details of the Serios phenomenon can’t be disentangled without questioning the social conditions that produced it in the first place.
Contextualizing Serios’ story within the twilight zone of 1960s America, Ted Serios: The Mind’s Eye considers the reaches and restraints of belief and explores the multiple dimensions at play in the Serios phenomenon, including interpersonal relationships, scientific methods, photographic technologies, state militaristic operations and popular culture. Rather than seeking absolute truth, the volume allows the reader to arrive at their own conclusions through a series of thematic essays, narrative photographic stories, select ephemera and contemporary cultural artifacts.

Corita Kent, formerly Sister Mary Corita, is known for her exuberant, colorful serigraphs and her teaching, as evidenced in her lively art classes. As a Catholic nun from 1936 until 1968, Corita lived and worked in the Immaculate Heart of Mary community in Los Angeles. She taught lettering and layout, image finding, and art structure for 20 years in Immaculate Heart College’s art department. There, she screened multiple films simultaneously, hosted guest thinkers including Saul Bass, Buckminster Fuller and John Cage, and guided the making of large-scale collaborative projects with students. Corita regularly took her students out for looking sessions at a used car lot or an art exhibition. While constantly looking and discovering visually,

Corita shot thousands of 35 mm slides documenting references, the IHC milieu and the art department processes. For Corita, the vernacular environs of advertising, supermarkets and the city’s media landscape were a source of inspiration and raw material. Her slide collection encompasses a wide range of subjects: cookies, coke bottles, toys, presents, experiments, projects, Mary’s Day celebrations stemming from Corita’s classroom, flowers, magazines, seeds, puppets, visits with Charles and Ray Eames, street signs, trade fairs, folk art, boxes, billboards and kites. Drawing from the Corita Art Center’s vast slide collection, Ordinary Things Will Be Signs for Us embodies Corita’s philosophy of looking.

In the 1990s, queer youth, outcasts and artists flocked to San Francisco to experiment with art, self-expression, style and gender and to find community. Rent was affordable, paving the way for queer bars, clubs, tattoo shops, galleries, cafés, bookstores and women-owned businesses to emerge. A new wave of feminism embraced gender fluidity, and butch/femme culture flourished. The Mission district was the center of this queer cultural renaissance, and the feeling of community there was palpable.
Chloe Sherman was both a member of this community and an ardent visual chronicler.

Her documentary photographic work on 35mm film stems from a commitment to capturing the vibrancy, tenderness, individuality, resilience and joy within this subculture that was derided by mainstream society. Distilling the spirit of the time, her debut monograph is a candid portrait of a vibrant era that connects current and future generations to the pulse of San Francisco at a pivotal chapter in queer history.

Chloe Sherman (born 1969) arrived in San Francisco in 1991 and earned her BFA in Photography at the San Francisco Art Institute. Her work has been exhibited internationally and featured in magazines such as Rolling Stone and Interview.

Covering 30 years of sculptures, paintings, works on paper, large-scale wall drawings, installations and site-specific works, this book presents the art of Gary Simmons, one of the most respected artists of his generation. Since the late 1980s, Simmons has played a key role in situating questions of race, class and gender identity within art discourse. He is notable for combining pop-cultural imagery with conceptual artistic strategies to expose and analyze histories of racism inscribed in US visual culture. Over the course of his career, Simmons has revealed traces of these histories in the fields of sports, cinema, literature, music, and architecture and urbanism while drawing on popular genres such as hip-hop, horror and science fiction. His approach is cool and unflinching in its interrogation of historical and cultural narratives, yet the results consistently deliver a strong emotional charge. This publication offers readers the opportunity to gain a holistic understanding of the complex, profoundly moving work of this influential artist.

Gary Simmons was born in 1964 in New York City, where he was raised. Today he lives and works in Los Angeles. He received a BFA in 1988 from the School of Visual Arts, New York, and an MFA in 1990 from the California Institute of the Arts, Valencia; he also studied at Hunter College, New York. He has received numerous awards, including the Studio Museum in Harlem Joyce Alexander Wein Prize (2013), the George Gund Foundation USA Gund Fellowship (2007) and the National Endowment for the Arts Interarts Grant (1990).

Fifty years ago, New York–based photographer Eugene Richards (born 1944) worked as a VISTA Volunteer and then as a reporter in the Arkansas Delta. Even after the newspaper he helped found closed its doors, Richards kept revisiting the region. In early 2019 he returned to the small town of Earle, Arkansas, where, on a September night in 1970, peaceful protesters were attacked by a crowd of white men and women brandishing sticks and firing guns. Crossing the tracks from what had been the Black side of the town into the white side of the town, Richards happened upon an old appliance store. On the shadowy and cracked walls of the building were painted the faces of Jesus, Malcolm X, H. Rap Brown, Angela Davis, Dr. Martin Luther King and John Brown—the faces of revolution, reconciliation, change. In the months that followed, the old store became for Richards a kind of portal, a doorway into the region’s volatile history and into the lives of those who lived, struggled, raised families, grew old and died there.

The Day I Was Born interweaves full-bleed images of Earle with deeply personal narratives in the words of people who live there.

This volume collects David Wojnarowicz’s transatlantic correspondence to his Parisian lover Jean Pierre Delage between 1979 and 1982. Capturing a truly foundational moment for Wojnarowicz’s artistic and literary practice, these letters not only reveal his captivating personality—and its concomitant compassion, neuroses and tenderness—but also index the development of the visual language that would go on to codify him as one of the preeminent artists of his generation.

Through this collection, readers are introduced to Wojnarowicz’s Rimbaud series, his band 3 Teens Kill 4, the publication of his first photographs, his early friendship with Peter Hujar, his participation in the then-emerging East Village art and music scenes, and the preparations for the publication of his first book. Included with these writings are postcards, drawings, xeroxes, photo­graphs, collages, flyers, ephemera and contact sheets that showcase some of the artist’s iconic images and work, such as the Burning House motif and Untitled (Genet, after Brassai).

Famously the most politicized and intellectual of the Abstract Expressionists, Robert Motherwell (1915–91) evolved a form of austere gesturalism reflective of both the human psyche and the political realm. Robert Motherwell: Pure Paintingoffers an in-depth exploration of his oeuvre—the first publication to do so in many years. Leading art scholars Jennifer Cohen, Susan Davidson, Simon Kelly, Monica McTighe and Sarah Rich examine Motherwell’s turn from Surrealism to abstraction and consider the major series that developed over his 50-year career.

The catalog also studies the dialogue between Motherwell’s art and the 19th-century French painting tradition, and investigates his relationship to Spanish painting techniques and processes, with an emphasis on underlying political significance of this relationship (as expressed in his great series Elegies to the Spanish Republic). Another section looks at Motherwell’s unique use of ocher pigment, with its evocation of deep geological time and of avant-garde strategies.

Over the course of more than 50 years, renowned American artist Ellsworth Kelly made approximately 400 postcard collages, some of which served as exploratory musings and others as studies for larger works in other mediums. They range from his first monochrome in 1949 through his last postcard collages of crashing ocean waves, in 2005.

Together, these works show an unbounded space of creative freedom and provide an important insight into the way Kelly saw, experienced and translated the world in his art. Many postcards illustrate specific places where he lived or visited, introducing biography and illuminating details that make these pieces unique among his broader artistic production. Ellsworth Kelly: Postcards is the most extensive publication of Kelly’s lifelong practice of collaged postcards.

Ellsworth Kelly (1923–2015) was born in Newburgh, New York. In 1948 he moved to France, where he came into contact with a wide range of classical and modern art. He returned to New York in 1954 and two years later had his first exhibition at the Betty Parsons Gallery. The Museum of Modern Art, New York, organized his first retrospective in 1973. Subsequent exhibitions have been held at museums around the world, including the Solomon R. Guggenheim Museum in New York, Tate in London, Haus der Kunst in Munich and the Centre Pompidou in Paris.

Published to celebrate the reopening of London’s National Portrait Gallery after a three-year redevelopment project, this engaging and inviting book takes the reader on a chronological journey through Britain’s history in portraiture from the Tudors to now, featuring the country’s most impactful and famous individuals―from Queen Elizabeth I to Mary Seacole, and Virginia Woolf to David Bowie.

The book is richly illustrated with beautiful paintings, photographs, sculptures, drawings and digital works. This selection of the most popular and recognizable portraits from the collection is accompanied by short chapter introductions that introduce key historical periods, their most exciting figures and their most important historical, political, social and cultural moments. This accessible structure allows the reader to dip into any of the beautiful portraits and their stories, and understand their place in British history.

Through more than 200 photographs, this luxurious volume presents Mexican photographer Graciela Iturbide’s most iconic works alongside an important selection of previously unpublished photographs and a series of color photographs specially commissioned by the Fondation Cartier.

Working mainly in black and white, Iturbide has explored the cohabitation between ancestral traditions and Catholic rites in Mexico, humanity’s relationship with death and the roles of women in society. In recent years, her photographs have emptied themselves of human presence, revealing the enigmatic life of objects and nature. In addition to her stark images of her homeland, this book also includes images from her series in India, the United States and elsewhere. Heliotropo 37, named for the photographer’s address in Mexico City, also contains an interview with the photographer by French essayist Fabienne Bradu, an original short story by Guatemalan writer Eduardo Halfon and a photo-portrait of Iturbide’s studio by Mexican photographer Pablo López Luz.

One of the most influential photographers active in Latin America today, Mexican photographer Graciela Iturbide (born 1942) began studying photography in the 1970s with legendary photographer Manuel Álvarez Bravo. Seeking “to explore and articulate the ways in which a vocable such as 'Mexico' is meaningful only when understood as an intricate combination of histories and practices,” as she puts it, Iturbide has created a nuanced and sensitive documentary record of contemporary Mexico. She lives and works in Mexico City.

Since the 1970s, the medium of video has been closely associated with subcultural and countercultural movements. Art and music videos in particular have showed great subversive potential, as artists and musicians use the medium to explore and transgress social norms and gender stereotypes. The essays in this publication consider artistic strategies in the context of the history of punk and its offshoots, combining scholarly opinions from the fields of art history, queer theory, media studies, gender studies, postcolonial studies and cultural studies alongside field reports from the practice of alternative archives and visual essays.

Authors include: Kathrin Dreckmann, Marina Grzinic, Jack Halberstam, Josefine Hetterich, Angela McRobbie, Jennifer Ramme, Peter Rehberg, Marion Schulze, Elfi Vomberg and Katharina Wiedlack.

This volume presents sketches and textile designs by the great Russian French modernist artist Sonia Delaunay alongside her paintings and interior and fashion designs. It demonstrates how she transferred her color philosophy of “Simultanism,” which she developed in her painting, to the mediums and surfaces of modern life. Maison Sonia Delaunay also explores the international textile companies with whom she collaborated, and shows how she explored the relationship between art and industry, and the ways in which she used her many abilities to design a visionary modern life. The book includes the first scholarly essays on Delaunay's collaborations with silk industrialist Robert Perrier and couturier Jacques Heim, who were among her most important collaborators.

Born in Odessa, Ukraine, Sonia Delaunay (1885–1979) migrated to Paris in 1906 and became a key figure in the city’s avant-garde scene. During these early years, her paintings underwent a formal shift influenced by the vivid colors of Fauvism. She soon met her husband, fellow artist Robert Delaunay, and the couple pioneered a fusion of Cubism and Neo-Impressionism that they termed Simultanism—abstract painting that uses color in a manner comparable to the use of sound and rhythm in music. In 1964, Delaunay became the first living woman artist to have a retrospective at the Louvre.

Just Above Midtown, or JAM, was an art gallery and self-described laboratory for experimentation led by Linda Goode Bryant that foregrounded African American artists and artists of color. Open from 1974 to 1986, it was a place where an expansive idea of contemporary art flourished and debate was cultivated. The gallery offered early opportunities for artists recognized as pivotal figures in late-20th-century art—including David Hammons, Butch Morris, Senga Nengudi, Lorraine O’Grady and Howardena Pindell—as well as a nonhierarchical approach to art that welcomed artists without stylistic proscription.

Published in conjunction with the first museum exhibition to focus on this visionary gallery and its ongoing impact, Just Above Midtown: Changing Spaces showcases rarely seen material from JAM’s history—artworks, ephemera and photographs—that collectively document the gallery’s communal and programmatic activities. This richly illustrated, jacketed paperback catalog includes essays that contextualize JAM and consider its legacy, a conversation between Goode Bryant and Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem, a complete exhibition chronology written by MoMA and Studio Museum staff with nearly 50 annotated entries, and excerpts from oral histories with JAM staff and artists conducted especially for this project.

This new edition of the Cahiers d’Art Revue was published to accompany Ai Weiwei’s (born 1957) 2019 exhibition at the Galerie Cahiers d’Art on rue du Dragon in Saint-Germain-des-Prés. The issue features a series of unpublished works on paper made from rust, documentation of Ai Weiwei's gigantic Amazon rain-forest project, a long interview with the artist by Hans Ulrich Obrist, an essay by art historian Ingrid D.

Rowland on Ai Weiwei and archaeology, a tribute to the artist’s father, the famous writer Ai Qing, and a text by the collector Uli Sigg. The issue sheds light on the concerns that lie at the heart of Ai Weiwei’s work: antiquity and contemporaneity, East and West, traditional arts and conceptual art, conservation and destruction. As the artist says, “We can replace everything except the past.” Also featured are recent works and projects by Andrea Eriksson, Jonya Ishigami and Monir Shahroudy Farmanfarmaian.

Recalling a charcoal she made in 1916, Georgia O'Keeffe later wrote, “I have made this drawing several times―never remembering that I had made it before―and not knowing where the idea came from.” These drawings, and the majority of O’Keeffe’s works in charcoal, watercolor, pastel and graphite, belong to series in which she develops and transforms motifs that lie between observation and abstraction. In the formative years of 1915 to 1918, she made as many works on paper as she would in the next 40 years, producing sequences in watercolor of abstract lines, organic landscapes and nudes, along with charcoal drawings she would group according to the designation “specials.” While her practice turned increasingly toward canvas in subsequent decades, important series on paper reappeared―including charcoal flowers of the 1930s, portraits of the 1940s and aerial views of the 1950s.
Published in conjunction with an exhibition at the Museum of Modern Art, New York, this richly illustrated volume highlights the drawings of an artist better known as a painter, and reunites individual sheets with their contextual series to illuminate O’Keeffe’s persistently sequential practice.

Born in Sun Prairie, Wisconsin, Georgia O’Keeffe (1887–1986) first received critical attention when her breakthrough charcoal drawings were exhibited in New York in 1916. Two years later, she moved to the city to work full time on her art. Beginning in 1929, O’Keeffe spent summers in New Mexico, where she would relocate in 1949. The most famous female artist of her age, she thought of herself not as “the best woman painter” but as “one of the best painters.”

Soul Jazz Records' new release Black Fire! New Spirits! Explores deep, radical and spiritual jazz in the USA in the period between 1957-75. In the 1960s and into the 1970s, jazz music in the USA was in an almost constant state of revolution, with the music and lives of African-American artists radicalised by the advent of the civil rights movement, Black Power, and a new spiritual awakening. For over 20 years now Soul Jazz Records have been exploring this rich area of deep and spiritual jazz music with an array of albums such as Freedom, Rhythm and Sound, Universal Sounds of America, New Thing, Soul Jazz Love Strata East and more. Soul Jazz Records have also released a steady stream of reissues of lost and classic deep jazz releases over the years from artists such as Art Ensemble of Chicago, Steve Reid, Pharaoh Sanders and others.

This new album features groundbreaking and revolutionary artists such as Don Cherry, Archie Shepp, The Last Poets and Yusef Lateef as well as many rare and deep lost tracks from lesser known artists such as Creative Artists Ensemble, Granchan Moncur, Lloyd McNeill, Tyrone Washington and others. The album coincides with the recent book 'Black Fire! New Spirits! Images of A Revolution: Radical Jazz in the USA 1960-75', published by Soul Jazz Books.

Kehinde Wiley’s acclaimed World Stage series inserts into the language of old master portraiture the very ethnicities and ethnic iconography that western art has most excluded from it, or that western art has portrayed solely in colonial, Orientalist terms. Among the countries and continents he has previously depicted in this ambitious traveling epic are Brazil, Africa, China, India and Sri Lanka.

The rhetoric of Wiley’s paintings is powerful in its compositional candor, color palette and playfulness with constructions of visual meaning; as Paul D. Miller (DJ Spooky) notes, “Wiley’s canvas surfaces are a mirror reflection of America’s unceasing search for new meanings from the ruins of the Old World of Europe and Africa.” This volume includes a selection of new World Stage portraits, focusing on contemporary youth from Jewish-Ethiopian-Israeli, Jewish-Israeli and Arab-Israeli communities.

This three-volume publication explores three distinct phases in the history of the legendary French fashion house founded in 1946. The first volume presents 33 black-and-white images of Dior’s original designs, staged by French photographer Sarah Moon at the Fondation Le Corbusier in Paris during the summer of 2021. It interweaves almost abstract photographs of the Fondation with vivid portrayals of the models. The second volume contains 43 images documenting a selection of garments designed by the various artistic directors of Dior between 1958 and 2015: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano and Raf Simons. The third and final volume presents 38 photographs taken since the arrival of Dior’s current artistic director, Maria Grazia Chiuri.

Sarah Moon (born 1941) grew up between France and England. As a young woman, she started working as a model which plunged her into the world of fashion, a world that would later propel her toward photography, which became her ultimate passion. By 1970, she had devoted herself exclusively to photography and her work was published in numerous magazines. Robert Delpire hired her to make photographs for his advertising agency and they subsequently became lifelong romantic partners. Moon is famous for her blurred aesthetic, use of Polaroids, halftone photos and erasure of faces.

Created in his off-hours on the weekend and in part inspired by the modern artists of his day, Jack Stauffacher’s exquisite prints demonstrate what wood type can do when released from its role in traditional communication and instead used to explore letters as pure form. In the resulting abstract, dynamically composed, often lushly layered prints, Stauffacher reclaims typography as a subject fit for the gallery wall.
Featuring 500 images (most of which have never appeared in a publication before) and essays by collaborators from the worlds of art and typography, Only on Saturday is the first trade book to document the work of one of the past century’s great typographers and printers―and offer the compelling backstory behind its creation.

Born in 1920 in San Mateo, California, Jack Stauffacher was a printer, typographer and fine-book publisher whose delicate yet graphic sensibility landed his work first in library rare book collections and then in museums such as SFMOMA and LACMA, who sought out his typographic prints. A printer of exceptional skill who began his apprenticeship at the age of 16, Stauffacher created books for his Greenwood Press off and on for eight decades.

He taught typography at Carnegie Mellon and the San Francisco Art Institute, and served as typographic director at Stanford University Press. But it was his later wood type prints that ushered his career into the realm of fine art. Stauffacher created these innovative and elegant prints from 1966 until his death in 2017 at the age of 96. In recognition of his contributions to typography and design, he was awarded an AIGA Medal in 2004.

This volume chronicles the rise of a globally significant art movement, as told from the perspective of the Yolngu people of northeastern Australia. It presents more than 90 iconic paintings on eucalyptus bark, many of which have never been seen outside of Australia.

For millennia, Yolngu people around Yirrkala in northern Australia have painted their sacred clan designs on their bodies and ceremonial objects. These designs―called miny’tji―are not merely decorative: they are the sacred patterns of the ancestral land itself. Yolngu people describe them as madayin: a term that encompasses both the sacred and the beautiful. With the arrival of Europeans in the 20th century, Yolngu people turned to the medium of painting on eucalyptus bark with ochres. The result was an outpouring of creativity that continues to this day as artists find new and innovative ways to transform their ancient clan designs into compelling contemporary statements that are chronicled in this singular publication.

Authors include: Andrew Blake, David Burrumarra MBE, Steve Fox, Gunybi Ganambarr, Manydjarri Ganambarr, Yinimala Gumana, Jason Guwanbal Gurruwiwi, Djambawa Marawili AM, Nonggirrnga Marawili, Dhuwarrwarr Marika, Wanyubi Marika, Baluka Maymuru, Paul Wutjin Maymuru, Naminapu Maymuru-White, Frances Morphy, Howard Morphy, Barayuwa Mununggurr, Marrnyula Mununggurr, Rerrkirrwanga Mununggurr, Wäka Mununggurr, Buwathay Munyarryun, Eleanore Neumann, Will Stubbs, Dhukumul

Inspired from a rare hand-colored original, The Cabinet of Natural Curiosities gathers all of Albertus Seba's extraordinary illustrations of strange and exotic plants, snakes, corals, as well as “double-headed monsters”, dragons, and many more.

The iconic book cover is reimagined here as a charming watercolor.  This series adds instant-charm to a gallery wall, or displayed on a bookcase or mantel as a special keepsake.

-5" x 7"
-Archival quality giclée print on fine art bright white paper

Spanning nearly 1,000 years of artistic creativity, this wide-ranging volume brings together 206 artworks that exemplify both exquisite aesthetics and rich cultural histories. The majority of the collection is from the American Southwest―19th-century Navajo weavings, ancestral and historical Pueblo pottery, Hopi and Zuni carved figures, and Yavapai and Apache basketry―along with art from the Pacific Northwest and the first Plains ledger drawings to enter the museums' collections.

This book, which features new research and specially commissioned essays and extended captions, developed in collaboration with cultural advisors, reflects the complex and multilayered nature of the artworks in the field of Native American art. Contributions from more than 80 authors from different disciplines and cultural backgrounds, including scholars, culture-bearers, artists, collectors and museum professionals, illuminate details about the living histories of the works. With striking new photography and full-color reproductions, this is a cornerstone publication in the field of Native American art history.

Love Songs brings together series dating from 1952 to 2022 by established and emerging contemporary photographers that explore love, desire and intimacy in all their complex and contradictory ways.

Among the major series reproduced here are Nan Goldin's seminal 1986 photobook The Ballad of Sexual Dependency; Nobuyoshi Araki's Sentimental Journey (1969) and Winter Journey (1989-90), which present the beginning and end of the relationship with his wife Yoko, from their honeymoon to her death; RongRong&inri's tender and poetical Polaroid series Personal Letters (2000); and Leigh Ledare's Double Bind (2010), a complex account of a love triangle between himself, his ex-wife and her new husband. These and the other series in Love Songs together make a portrait of love in all its risk, complexity, sensuality and tenderness.

From 2011 to 2015, Brooklyn-based photographer Ash Kolodner (born 1987) traveled across the United States photographing hundreds of LGBTQ+ individuals of all ages. They made two consecutive portraits of each of their subjects, photographing them twice during the same sitting: once with eyes closed and then with eyes open. These diptychs symbolize the vulnerability many have felt at the outset of discovering their personal identities, and then the realization and self-actualization manifest in the intimate and profound process of coming out.

Through more than 180 color portraits, along with subject interviews and contributing texts by filmmaker Kimberly Peirce and Tony award-winning producer Jordan Roth, and icon and performer, RuPaul, Gayface reflects the beauty, intimacy and sometimes the pain of a community kept in the shadows for decades. Ultimately these pictures and this handsome volume represent a revelatory statement on the profound humanity we all share.

This magnificent volume features a remarkable collection of largely unseen photographs of the Beat Generation by renowned Magnum photographer Burt Glinn. This amazing, untouched treasure trove of images was discovered when Reel Art Press was working with Burt Glinn’s widow, Elena, on a larger retrospective of Glinn’s work. Archived with the negatives was a short essay by Jack Kerouac entitled "And This Is The Beat Nightlife of New York," which is published here alongside the photographs. The book features black-and-white shots, and also—uniquely, for images of this era—more than 70 in color. An extremely rare find, these photographs capture the raw energy of the Beat Generation in a way that has never been seen before in print.

The photographs were shot between 1957 and 1960 in New York and San Francisco and feature nearly everyone involved in the scene, including writers and artists such as Allen Ginsberg, Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, LeRoi Jones, Jay DeFeo, Wally Hedrick and many more. Glinn was celebrated for his extraordinary talent as a social documentary photographer, and during his time with the Beats his camera captured the spirit of the counterculture—writers, musicians and artists meeting in cafes, bars and parties pursuing a truth and future the mainstream would and could not acknowledge.

This exquisite tome is an intimate and fresh insight into the lives of the legendary and influential bohemians and a celebration of Glinn’s inimitable talent.

Bringing together the sensibilities of two remarkable artists, Peter Hujar Curated by Elton John provides striking proof of how one artist’s eye can shed light on another. Though known worldwide as one of the most revered performers of our era, Elton John is also a seasoned collector of photographs, with an acute and personal understanding of Hujar’s achievement.

Through a selection of 50 photographs, the book presents a wide-ranging survey of Hujar's career. John writes: “Hujar's humanity, depth and sensual insights aren't for everyone, and don't need to be, but once his pictures get into your bloodstream they are impossible to shake.” The publication includes works spanning nearly two decades, featuring portraits of Hujar's eclectic circle of friends, his landmark nudes, atmospheric landscapes, portraits of performers (Stevie Wonder, Peggy Lee and Edgar Winter) and a moving image of the artist with his mother.

This is the first major survey of artist and fashion designer Cinzia Ruggeri (1942–2019), a unique figure of Italian postmodernism who moved freely across disciplines. From clothing and accessories to furniture and lighting—as well as sculptural installations often including these objects—Ruggeri created worlds that were continually imaginative, provocative, elegant and unpredictable. Ruggeri founded her own fashion line in 1977 and immediately became known for her use of architecture and geometry, such as the ziggurat and representations of the shape of Italy. During her lifetime she also worked and collaborated with Brian Eno, Occhiomagico, Alessandro Mendini, Casa Vogue, Maison Carven and Studio Alchimia. This catalog offers the most complete overview of Ruggeri’s career, thanks to research conducted by MACRO (Museum of Contemporary Art of Rome) in collaboration with the Archivio Cinzia Ruggeri in Milan.

Between 1973 and ’76, Mitch Epstein (born 1952) photographed in American cities—New York, Los Angeles and New Orleans, among others. He was initially shooting in black and white as a student of Garry Winogrand, when he asked his teacher, “Why not color?” With Winogrand’s blessing, Epstein shot his first rolls of Kodachrome. Silver + Chrome is a chronicle of his three years alternating between color and black and white, before eventually committing to color.

This book contains Epstein’s earliest work, virtually none of which has been seen before. In these kinetic tableaux, the artist’s exuberance is tamed, just barely, by his formal intelligence. He depicts American city life as it undergoes taboo-shattering sexual liberation, economic crises and the repercussions of a boondoggle war in Vietnam, immersing us in the urban chaos of this complicated time.

Ralph Ellison is a leading figure in American literature, hailed for his seminal novel Invisible Man (1952), a breakthrough representation of the American experience and Black everyday life. Lesser known, however, is his lifelong engagement with photography. Photographer is the first book dedicated to Ellison’s extensive work in the medium, which spans the 1930s to the ’90s.
Throughout his life, photography played multiple roles for Ellison: a hobby, a source of income, a note-taking tool and an artistic outlet. During his formative years in New York City in the 1940s, he keenly photographed his surroundings—at times alongside fellow photographer Gordon Parks—with many images serving as field notes for his writing. In the last decades of his life, as he grappled with his much-anticipated second novel, Ellison turned inward, and he studied his private universe at home with a Polaroid camera. At all times his photography reveals an artist steeped in modernist thinking who embraced experimentation to interpret the world around him, particularly Black life in America.

In a 1956 letter to fellow writer Albert Murray, Ellison underscored photography’s importance to his creative process: "You know me, I have to have something between me and reality when I’m dealing with it most intensely." Accompanying the photographs in this book are several essays situating Ellison’s work within his broader career as a writer, as well an excerpt from his 1977 essay "The Little Man at Chehaw Station: The American Artist and His Audience."

Over the course of her 40-year career, acclaimed American photographer Tina Barney has illuminated the inner lives of her subjects, observing the generational repetition of familial traditions and rituals as played out in domestic settings. In the summer of 2020, at the height of Covid and quarantine restrictions, Barney began to sort through her archive, which contained thousands of 35mm negatives taken between 1976 and 1980. Finding these long-forgotten images engendered a rediscovery of some of her most intimate memories as a young artist: “the photographs in this book seem like X-rays of my mind and thoughts through the summers I spent with family and friends on the East Coast and in Sun Valley, Idaho.”

Revisiting her work from decades prior, Barney found herself meditating on who and where she was at the time, as well as why and how she approached specific subjects. What was the impetus to capture these moments? The Beginning encompasses Barney’s nostalgic exploration of her earliest work in the medium, and further reflects a self-examination of this formative period through a critical lens.

This volume surveys three decades of Pacita Abad’s multifaceted practice. Published on the occasion of her first-ever retrospective, it includes new research and writing by Julia Bryan-Wilson, Ruba Katrib, Nancy Lim, Matthew Villar Miranda, Victoria Sung and Xiaoyu Weng, an edited oral history about the artist’s life and work by Pio Abad and Victoria Sung, and never-before-seen artworks and archival materials.

Over the course of her career, Abad made an exuberant, wide-ranging body of work that was ahead of its time in promoting a transcultural worldview. Moving between the Philippines, Indonesia, Singapore and the US―while also spending extended periods in dozens of countries on six continents―she interacted with the many artist communities she encountered on her travels.

Drawing on her knowledge of global fiber traditions, Abad innovated a hybrid art form that she called “trapunto” painting (from the Italian word trapungere, “to embroider”). Made by stitching and stuffing her painted canvases as opposed to stretching them over a wood frame, the resulting works’ portability speaks to her peripatetic existence, while their association with textiles evokes female, non-Western forms of labor that have historically been marginalized as craft.

From January 15 to February 12, 1977, more than 15,000 artists, intellectuals and performers from 55 nations worldwide gathered in Lagos, Nigeria, for the Second World Black and African Festival of Arts and Culture, also known as FESTAC’77. Taking place in the heyday of Nigeria’s oil wealth and following the African continent’s potent decade of decolonization, FESTAC’77 was the peak of Pan-Africanist expression. Among the musicians, writers, artists and cultural leaders in attendance were Ellsworth Ausby, Milford Graves, Fela Anikulapo Kuti, Samella Lewis, Audre Lorde, Winnie Owens, Miriam Makeba, Valerie Maynard, Queen Mother Moore and Sun Ra.

While serving as the photographer for the US contingent of the North American delegation, Brooklyn-based photographer Marilyn Nance made more than 1,500 images throughout the course of the festival―one of the most comprehensive photographic accounts of FESTAC’77. Drawing from Nance’s extensive archive, most of which has never before been published, Last Day in Lagos chronicles the exuberant intensity and sociopolitical significance of this extraordinary event.

In Joan Didion: What She Means, the writer and curator Hilton Als creates a mosaic that explores Didion's life and work and the feeling each generates in her admirers, detractors and critics.
Arranged chronologically, the book highlights Didion's fascination with the two coasts that made her. As a Westerner transplanted to New York, Didion was able to look at her native land, its mores and fixed rules of behavior, with the loving and critical eyes of a daughter who got out and went back. (Didion and her late husband moved from New York to Los Angeles in 1964, where they worked as highly successful screenwriters, producing scripts for 1971's The Panic in Needle Park and 1976's A Star Is Born, among other works, before returning to New York 20 years later.) And from her New York perch, Didion was able to observe the political scene more closely, writing trenchant pieces about Clinton, El Salvador and most searingly the Central Park Five.

The book includes more than 50 artists ranging from Brice Marden and Ed Ruscha to Betye Saar, Vija Clemins and many others, with works in all mediums including painting, ephemera, photography, sculpture, video and film. Also included are three previously uncollected texts by Didion: “In Praise of Unhung Wreaths and Love” (1969); a much-excerpted 1975 commencement address at UC Riverside; and “The Year of Hoping for Stage Magic” (2007).

The meticulous depictions of tattoos by prison guard Danzig Baldaev are reproduced in facsimile, authenticated by his signature and stamp, alongside his handwritten notes on the reverse. The paper has yellowed with age, giving the exquisite drawings a visceral temporality, almost like skin. Sergei Vasiliev’s photographs portray inmates in startling intimacy.

He achieves a remarkable level of trust within the closed criminal society, a strict hierarchy, where outsiders are viewed with hostile suspicion. Arkady Bronnikov’s collection of photographs are shown in the albums in which they were collected. Used exclusively to aid police in their investigations, they depict a motley lineup of assorted body parts.

Tamara Shopsin’s classic 5 Year Diary 

Designed by Shopsin--whose illustration work is regularly featured in The New York Times--and produced by The Ice Plant and Shopsin’s General Store, the pint-sized 5 Year Diary helps you keep track of the next 60 months of your life in just a few lines a day. Each page of the diary is devoted to one day of the year and subdivided into five sections (each with its own space for notes), so that, as time goes by, past entries can be read as the new ones are written.

Handsomely clothbound with a red ribbon bookmark, the diary can be started on any day of any year--even a leap year. In the back of the diary are pages to record the books you’ve read and places you’ve traveled. As New York magazine’s Kendall Herbst noted, the 5 Year Diary is an ideal gift for anyone, anytime, as well as the perfect way to “trace your life’s highlights and trim out the minutiae… Think of it as a sort of CliffsNotes to your life."

Our lives are increasingly lived on screens, and every one of our electronic interactions is mediated by a designed interface, which can be buggy and incomprehensible or inviting and accessible. Like other ubiquitous everyday tools, these interfaces are seldom recognized as objects of design—and even less as objects of interactive design. In video games, however, users are acutely aware of their relationship with the interface, making video games compelling examples of this important field of contemporary design.

Published in conjunction with an exhibition at the Museum of Modern Art, Never Alone: Video Games as Interactive Design explores the impact of interactive design by examining 35 video games created between 1972 and 2018—from Space Invaders (1978) and Pac-Man (1980) to The Sims (2000) and Minecraft (2011). An overarching essay by curators Paola Antonelli, Anna Burckhardt and Paul Galloway presents the pioneering criteria by which MoMA has selected these video games for its collection, as well as the protocols for their acquisition, display and conservation

Elaine Mayes: The Haight-Ashbury Portraits 1967–1968 is the first monograph on one of the decade’s most important bodies of work, presenting more than 40 images from Mayes’ series. An essay by art historian Kevin Moore elaborates an important chapter in the history of West Coast photography.

Elaine Mayes (born 1936) was a young photographer living in San Francisco’s lively Haight-Ashbury District during the 1960s. She had photographed the Monterey Pop Festival in 1967 and, later that year, during the waning days of the Summer of Love, embarked on a set of portraits of youth culture in her neighborhood. By that time, the hippie movement had turned from euphoria to harder drugs, and the Haight had become less of a blissed-out haven for young people seeking a better way of life than a halfway house for runaway teens.

This book provides a comprehensive overview of the fabric works from the last two decades in the career of legendary artist Louise Bourgeois (1911–2010). “I’ve always had a fascination with the needle,” she once said, “the magic power of the needle. The needle is used to repair damage. It’s a claim to forgiveness.”

This body of work began when the artist started incorporating clothes from all stages of her life into her art, and later expanded to include a range of other textiles such as bed linen, handkerchiefs, tapestry, and needlepoint. The fabric works mine the themes of identity and sexuality, trauma and memory, guilt and reparation, and serve as metaphors for emotional and psychological states.

The catalog—which accompanies the exhibition at the Hayward Gallery, London, and the Gropius Bau, Berlin—features works from numerous series, including the monumental Cell installations, figurative sculptures and abstract drawings.

This is the first comprehensive monograph on acclaimed painter Amy Sherald, whose distinctive style of simplified realist portraiture features African American subjects rendered against colorful monochrome backdrops or in everyday settings. Sherald rose to fame after being chosen by former first lady Michelle Obama to paint her official portrait for the National Portrait Gallery in Washington, DC, in 2018, becoming the first African American woman to receive this honor. In addition to reproductions of Sherald’s recent works, the book—published to accompany her solo exhibition at Hauser & Wirth London in fall 2022—includes illustrations of earlier paintings, as well as an intimate glimpse into Sherald’s process and practice through a series of in-studio photographs.

Newly commissioned texts include an art historical analysis of the artist’s work by Jenni Sorkin; a meditation on the politics and aesthetics of Sherald's portraiture by cultural scholar Kevin Quashie; and a conversation between Sherald and acclaimed author Ta-Nehisi Coates.