A painting by Michael Armitage, titled Enasoit, dated 2019.

Portrait of Michael Armitage, 2021. Photo by Tom Jamieson

The exhibition is accompanied by a richly illustrated catalogue in Danish and English. It features contributions from curator Anna Kjærsgaard Gregersen and Tamar Garb, Professor in the History of Art at University College London. 

Michael Armitage: Account of an Illiterate Man

Introduction by Duro Olowu. Interview with the artist by Craig Taylor

, artist Marcel Dzama presents a raft of new works inspired by travelling through Mexico and Morocco which touch on the wonder that travel and the strange immersion in cultures aside from one’s own can so often engender. Taking visual cues from the evocative textures and colours around him, Dzama successfully captures the spirit of place, while communicating something essentially human in the experience of those places. Coming at a time of isolation, of stasis for so many, this book engages the imagination in a broad, borderless project, allowing the viewer access to the thrill of discovery and the excitement of the new.

Marcel Dzama: Pink Moon

A detail of an artwork by Michaël Borremans titled The Commuter II dated 2022

Portrait of Michaël Borremans. Photo by Pascal Gamarte

The latest painting series from the Belgian master of eerie figuration

Belgian artist Michaël Borremans is a master of contradiction. His paintings draw heavily from 18th-century portraiture techniques, but depict scenes that are stranger and more surreal than they first appear: in one painting, children dance in a circle, cloaked in black robes; in another, a woman attempts to cram her whole hand into her mouth. Avoiding any suggestion of a specific time or place, Borremans’s eerie images are situated just slightly beyond the realms of possibility. His dark sense of humor and technical virtuosity are synthesized into a uniquely unsettling and endlessly fascinating experience for viewers.

This volume provides an overview of all of Borremans’s work since 2013, presented in seven different series of paintings. The majority of works collected here have never before been published.

Series 2013–2020

Michaël Borremans: The Badger's Song

 is a new zine designed by the Marcel Dzama on occasion of the exhibition at David Zwirner in New York in 2021. The zine features details from an array of new drawings featured in the show, which expand on Dzama’s interest in travel and nature.

Marcel Dzama: Who Loves the Sun

A detail from a work by Bridget Riley, titled Study for Measure for Measure Dark 2, dated 2019.

Portrait of Bridget Riley, 2021. Photo by Yuki Shima

Texts by Lucy Askew, Gene Baro, Lynne Cooke, Maurice de Sausmarez, Michael Harrison, John Leighton Sir, Jennifer Licht, and Bridget Riley

The first-ever book dedicated to the celebrated British artist’s working drawings, created under the aegis of the Bridget Riley Art Foundation

Bridget Riley’s paintings are developed carefully over time, the result of methodically working through pictorial variables such as colour, tone, scale, and rhythm. Studies are central to this process, allowing Riley to concentrate on the analysis and synthesis that lie at the heart of her working practice. Riley says, ‘Because my work is based on enquiry, studies are my chief method of exploration and my way into paintings’ (2005).

This volume richly illustrates the thinking that goes into Riley’s work through a selection of over 150 drawings, colour analyses, notations, scale studies and cartoons, most of which were exhibited at the artist’s recent seminal retrospective exhibitions in Edinburgh and London from 2019 to 2020 organized by the National Galleries of Scotland. The selection spans most of Riley’s working life, tracing the origins and evolving nature of her remarkable body of work. Riley’s beginnings are also documented through selected childhood drawings, work made during and immediately following her studies at Goldsmiths’ College and the Royal College of Art, and her early explorations into abstraction.

The artist’s working method is brought into high relief in a newly commissioned conversation with Riley and Sir John Leighton, Director of the National Galleries of Scotland. The text explores the cardinal moments in the artist’s practice and the impulses that bring her work into existence. The volume also includes four previously published texts dedicated to Riley’s studies and practice written by the artist herself, art historians, curators and museum directors, which shed further light on the enduring role of drawing and the process of exploration central to her work.

Bridget Riley Working Drawings

Sherrie Levine, Dark Blue Moonlight After Man Ray: 11, 2016

Larry List

Jeanne Siegel

Spotlight Series

Text by Larry List. Interview with the artist by Jeanne Siegel

Exploring the development of groundbreaking artist Sherrie Levine’s work, this catalogue looks at four series central to her practice.

, which focuses on new bodies of work by contemporary artists, 

 showcases several series that distinctly engage the artist’s ongoing inquiry into notions of authorship, originality, and authenticity.

Many of the works are consistent with Levine’s practice—the deliberate reproduction of other artists’ works and styles, so that her work and the original are nearly indistinguishable (as with the 

 (2021) series). A number of the works make reference to modernist masterpieces, questioning the stereotypical construct of the heroic male artist. In her 

 (2016) series, Levine used a computer program to calculate the average tone of the nude figures in Renoir’s paintings and then used this color to create monochrome panels. Published for the first time, 

 (2017) replicates the patterns of a set of dominoes that Levine purchased in Hong Kong, evoking both minimalist art and popular games.

The catalogue also features a new essay by Larry List, which tracks the history of Levine’s inspirations and artistic practice, and an interview with Levine by Jeanne Siegel, originally published in the June/ Summer 1985 issue of 

, which explores the artist’s use of appropriated imagery.

Sherrie Levine: Hong Kong Dominoes

Virginia Woolf

Claudia Tobin

ekphrasis

By Virginia Woolf. Introduction by Claudia Tobin

 series, this collection of Virginia Woolf’s writings on the visual arts offers a whole new perspective on the revolutionary author.

Despite wide interest in Woolf’s writings, and in the artists and art critics in her Bloomsbury circle, there is no accessible edition or selection of essays dedicated to her writings on art. This volume collects her longest essay on painting, “Walter Sickert: A Conversation” (1934), alongside shorter essays and reviews, including “Pictures and Portraits” (1920) and “Pictures” (1925).

These formally inventive texts reveal the centrality of the visual arts to Woolf’s writing and vision. They show her engaging with contemporary debates about modern art and are innovative in their treatment of ideas about color and form, including in response to the work of her sister, the painter Vanessa Bell, who designed many of her book covers and jackets. In these essays and reviews, Woolf illuminates the complex and interdependent relationship between the artist and society, and reveals her own shifting perspectives during decades of social and political change. She also provides sharp and astute commentary on specific works of art and on the relationship between art and writing.

An introduction by Claudia Tobin situates the essays within their cultural contexts.

Oh, to Be a Painter!

Dawn Ades

Richard Tuttle

Text by Dawn Ades. Poetry by Richard Tuttle

The year before he died, in what was one of the most difficult yet prolific periods of his life, Paul Klee created his most surprising and innovative works.

In 1939, the year before his death from a long illness and against a backdrop of sociopolitical turmoil and the outbreak of World War II, Paul Klee worked with a vigor and inventiveness that rivaled even the most productive periods of his youth. This book illuminates the artist’s response to his personal difficulties and the era’s broader realities through imagery that is tirelessly inventive—by turns political, solemn, playful, humorous, and poetic.

The works featured testify to Klee’s restless drive to experiment with form and material. His use of adhesive, grease, oil, chalk, and watercolor, among other media, resulted in surfaces that are not only visually striking, but also highly tactile and original. Not unlike a diary, the drawings are often meditative reflections on the pains and pleasures of life—their titles, among them 

Renowned art historian Dawn Ades looks at this group of paintings and drawings in the context of their time and as indicative of a pivotal moment in art history. Moved by this late period of Klee’s oeuvre, American artist Richard Tuttle responds to specific works in the form of a dialogical poem. This stunning publication highlights the novelty and ingenuity of Klee’s late works, which deeply affected the generation of artists—including Anni Albers, Jean Dubuffet, Mark Tobey, and Zao Wou-Ki—that emerged after World War II and continues to captivate artists and viewers alike today.

Paul Klee: 1939

Karl Ove Knausgaard

This volume celebrates the Swedish artist Mamma Andersson’s new body of work—melancholic, evocatively colored paintings that explore femininity, fantasy, and memory.

Andersson’s works embody a new genre of landscape painting that recalls late nineteenth-century romanticism while also embracing a contemporary interest in layered, psychological compositions. Her panoramic scenes draw inspiration from a wide range of archival photographic source materials, filmic imagery, theater sets, and period interiors as well as the sparse topography of northern Sweden, where she grew up. The paintings utilize a selection of motifs from throughout her career: barren branches and thick-barked pine trees, domestic interiors, horses, and young women. Resembling still lifes, they further a tradition of quiet, dreamlike domestic scenes by Scandinavian artists such as Vilhelm Hammershøi (1864–1916) and Edvard Munch (1863–1944). Part of a self-conscious effort to capture an experience rather than a specific event, the compositions are freer and more abstract and mark a departure from her earlier work.

Splendid color reproductions bring the artist’s textured brushstrokes, loose washes, and stark graphic lines to life on the page. The book also features a new essay by critically acclaimed author Karl Ove Knausgaard. 

 is published on the occasion of an eponymous exhibition presented at David Zwirner New York in 2020.

Mamma Andersson: The Lost Paradise

Doro Globus

Rose Blake

By Doro Globus and Rose Blake. Illustrated by Rose Blake

An exciting insight into the workings of artists and museums, Making a Great Exhibition is a colorful and playful introduction geared to children ages 3 to 7.

How does an artist make a sculpture or a painting? What tools do they use? What happens to the artwork next? This fun, inside look at the life of an artwork shows the journey of two artists’ work from studio to exhibition. Stopping along the way we meet colorful characters—curators, photographers, shippers, museum visitors, and more!

Both illustrator and author were raised in the art world, spending their time in studios, doing homework in museum offices, and going to special openings. They have teamed up to share their experiences and love for this often mysterious world to a young audience. London-based illustrator Rose Blake is best known for her work in 

, by David Hockney and Martin Gayford, which has been a worldwide success. Author Doro Globus brings her love for the arts and kids together with this fun journey.

Making a Great Exhibition

Bob Nickas

Laura McLean-Ferris

Text by Laura McLean-Ferris. Interview with the artist by Bob Nickas

In his rich new body of work, the Belgian artist Harold Ancart turns an immersive landscape of trees, mountains, and seas into a meditation on painting itself.

Ancart often paints subjects that naturally invite contemplation, such as the horizon, clouds, flowers, flames, and icebergs. His newest body of work captures the experience of landscape seen in motion or from a distance: trees blurred while driving past, a far-off inky-black sea, an evocative Martian mountain range. Recalling René Magritte, Egon Schiele, Gustav Klimt, and Piet Mondrian, who approached this subject matter in distinct ways, Ancart blurs form and color, figure and ground, and figuration and abstraction.

Reproduced here in magnificent foldouts, two multipanel canvases situate the viewer between a mountainscape and a seascape, both monumental in scale. Ancart segments the seascape with a stark horizon line, dividing sky and ocean. Like other comparable motifs within the artist’s oeuvre, the vividly colored cloudy sky functions in an anthropomorphic way, alluding to the endless possibilities and personalities of organic forms.

Including an interview with the artist by Bob Nickas, this catalogue offers insight into Ancart’s frank reflections on painting, writing, nature, and more. The publication also features a new essay by Laura McLean-Ferris. Taken together, the works in 

 meditate on the expansive possibilities of painting.

Harold Ancart: Traveling Light

A painting by Giorgio Morandi titled Natura morta (Still Life), dated 1956.

Laura Mattioli

David Leiber

Heinz Liesbrock

Nicholas Fox Weber

Text by Laura Mattioli. Conversation between David Leiber, Heinz Liesbrock, and Nicholas Fox Weber

An unprecedented catalogue exploring the formal and visual affinities and contrasts between Josef Albers and Giorgio Morandi—two of modern art’s greatest painters.

Rarely seen together, the artwork of Josef Albers (1888–1976) and Giorgio Morandi (1890–1964) shares many similarities. Although they never met, both artists worked in series as they explored difference and potential through their distinctive treatment of color, shape, form, and morphology. They were also both influenced by Cezanne. As master illusionists and experts in proportion, they tackle similar conceits from different perspectives. Albers focused on the effects of subtle or bold changes and interactions in color, while Morandi made still lifes that treat simple objects as a cast of characters on a stage, exploring their relationship in space.

Published on the occasion of the critically acclaimed exhibition 

, the book illuminates the visual conversation between these two artists. With the exhibition hailed by 

’s Peter Schjeldahl as “one of the best … I’ve ever seen,” this publication brings this unusual, thought-provoking pairing to your home. Gorgeous reproductions are accompanied by a roundtable about form and color between the exhibition’s curator, David Leiber; Heinz Liesbrock, the director of the Josef Albers Museum Quadrat Bottrop, Germany; and Nicholas Fox Weber, the director of Josef and Anni Albers Foundation, as well as an essay by the Morandi expert and founder of the Center for Italian Modern Art, Laura Mattioli.

Albers and Morandi: Never Finished

Zhu Zhu

Hans Ulrich Obrist

Text by Zhu Zhu. Translated by Denis Mair. Interview with the artist by Hans Ulrich Obrist

The Chinese artist Liu Ye’s meticulous, colorful canvases convey his love of literature in the first publication dedicated to his paintings of books.



Beijing-born painter Liu Ye (b. 1964) investigates the intersections of history and representation through a distinct vocabulary that transcends time and place, evoking distinct conceptual and emotional registers of meaning. Carefully balanced and lushly rendered, his works encompass a diverse range of aesthetic and cultural sources, from literary and artistic inspirations to his family and pets. In this new publication devoted to his book paintings, the artist examines the book as both a physical object and cultural totem. Playing with geometry and perspective, Liu creates extraordinary and disorienting portraits of this most familiar subject.

Liu’s 

 series, begun in 2013, depicts close-up views of books that are turned open to reveal empty pages, an approach that emphasizes the object’s form over its content. Rendering books’ material structure—endpapers, binding, spine—in sensual detail, these paintings indicate an obsession with the book as an object and a lifelong love of literature. Liu’s father was a children’s book author who introduced him to Western writers at a young age, fueling his curiosity and imagination. Many of the books in Liu’s father’s collection were banned in Cultural Revolution–era China and the artist read them secretly throughout his childhood. This formative experience figures in his popular 

 series and in his book paintings in general.

Published on the occasion of a solo exhibition presented at David Zwirner, New York, in 2020, this catalogue includes new writing by the acclaimed poet Zhu Zhu, who traces the evolution of the book form in Liu’s work, as well as an interview with the artist by Hans Ulrich Obrist.

Liu Ye: The Book Paintings

Charles Baudelaire

Michael Fried

By Charles Baudelaire. Introduction by Michael Fried

In his introduction to Charles Baudelaire’s 

, the renowned art historian Michael Fried presents a new take on the French poet and critic’s ideas on art, criticism, romanticism, and the paintings of Delacroix.

Charles Baudelaire, considered a father of modern poetry, wrote some of the most daring and influential prose of the nineteenth century. Prior to publishing the international bestseller 

 (1857), he was already notable as a forthright and witty critic of art and literature. Captivated by the Salons in Paris, Baudelaire took to writing to express his theories on modern art and art philosophy.

 expands upon the tenets of romanticism as Baudelaire methodically takes his reader through paintings by Delacroix and Ingres, illuminating his belief that the pursuit of the ideal must be paramount in artistic expression. Here we also see Baudelaire caught in a fundamental struggle with the urban commodity of capitalism developing in Paris at that time. Baudelaire’s text proves to be a useful lens for understanding art criticism in mid-nineteenth-century France, as well as the changing opinions regarding the essential nature of romanticism and the artist as creative genius.

Acclaimed art historian and art critic Michael Fried’s introduction offers a new reading of Baudelaire’s seminal text and highlights the importance of his writing and its relevance to today’s audience.

The Salon of 1846

Rudolf Zwirner

Nicola Kuhn

Gérard Goodrow

Lucas Zwirner

By Rudolf Zwirner, written with Nicola Kuhn. Translated by Gérard Goodrow. Edited by Lucas Zwirner. Foreword by Lucas Zwirner

Rudolf Zwirner, “the man who invented the art market,” as coined in Der Spiegel, reflects on more than sixty years in the art business in his authoritative autobiography.

An art dealer of the ages, Rudolf Zwirner, father of the esteemed gallerist David Zwirner, reached many milestones in his career. From cofounding Art Cologne, the first fair for contemporary art, in 1967, to showing works by Georg Baselitz, Gerhard Richter, and Andy Warhol, Zwirner transformed the contemporary art scene in Cologne. Born in 1933, he presented more than three hundred exhibitions from the early 1960s to 1992. In his autobiography, Zwirner reveals stories of artists, his gallery, and his most important collector, Peter Ludwig, whose collection forms the cornerstone of the Ludwig Museum in Cologne.

First published in 2019 in German, and translated and adapted here for the first time in English, the book explores the most significant moments of Zwirner’s career and the fast-changing postwar art world. Also included in this edition is a new introduction by Lucas Zwirner, Rudolf’s grandson, who reflects on his grandfather’s role in bringing us to the global art landscape we find ourselves in now.

An Autobiography

Rudolf Zwirner: Give Me the Now

Detail view of Alice Neel's 1967 painting titled Richard

Phoebe Hoban

By Phoebe Hoban. With a new introduction by the author

Phoebe Hoban’s definitive biography of the renowned American painter Alice Neel tells the unforgettable story of an artist whose life spanned the twentieth century, from women’s suffrage through the Depression, McCarthyism, the civil rights movement, the sexual revolution, and second-wave feminism. Throughout her life and work, Neel constantly challenged convention, ultimately gaining an enduring place in the canon.

Alice Neel’s stated goal was to “capture the zeitgeist.” Born into a proper Victorian family at the turn of the twentieth century, Neel reached voting age during suffrage. A quintessential bohemian, she was one of the first artists participating in the Easel Project of the Works Progress Administration, documenting the challenges of life during the Depression. An avowed humanist, Neel chose to paint the world around her, sticking to figurative work even during the peak of abstract expressionism. Neel never ceased pushing the envelope, creating a unique chronicle of her time.

Neel was fiercely democratic in selecting her subjects, who represent an extraordinarily diverse population—from such legendary figures as Joe Gould to her Spanish Harlem neighbors in the 1940s, the art critic Meyer Schapiro, Nobel Laureate Linus Pauling, Andy Warhol, and major figures of the labor, civil rights, and feminist movements—producing an indelible portrait of twentieth-century America. By dictating her own terms, Neel was able to transcend such personal tragedy as the death of her infant daughter, Santillana, a nervous breakdown and suicide attempts, and the separation from her second child, Isabetta. After spending much of her career in relative obscurity, Neel finally received a major museum retrospective in 1974, at the Whitney Museum of American Art, in New York.

In this first paperback edition of the authoritative biography of Neel, which serves also as a cultural history of twentieth-century New York, Hoban documents the tumultuous life of the artist in vivid detail, creating a portrait as incisive as Neel’s relentlessly honest paintings. With a new introduction by Hoban that explores Neel’s enduring relevance, this biography is essential to understanding and appreciating the life and work of one of America’s foremost artists.

Alice Neel: The Art of Not Sitting Pretty

Leslie Jamison

Seeing Shakespeare

Text by William Shakespeare. Artwork by Marcel Dzama. Introduction by Leslie Jamison

Set in an enchanted forest, Shakespeare’s 

is the ideal subject for artist Marcel Dzama, whose work frequently references dreams, fairy tales, and mythical worlds.

, Shakespeare’s celebrated romantic comedy intertwines multiple narratives under the influence of transformation and witchcraft. The play is often staged with actors wearing animal masks, an aspect that appeals particularly to Dzama, whose work is characterized by the fusion of human and animal, fantasy and reality.

As the second title in David Zwirner Books’s 

series, this book revisits this ultimate fairy tale through the eyes of a contemporary artist who feels a special affinity for its imagery.

William Shakespeare × Marcel Dzama: A Midsummer Night’s Dream

Robert Storr

R. Crumb’s obsessions—from sex to the Bible, music, politics, and the vicissitudes and obscenities of daily life—are chronicled in this comprehensive book of work by the illustrious American comic artist.

Instrumental in the formation of the underground comics scene in San Francisco during the 1960s and 1970s, Crumb has ruptured and expanded the boundaries of the graphic arts, redefining comics and cartoons as countercultural art forms. Presenting a slice of Crumb’s unique universe, this book features a wide array of printed matter culled from the artist’s five-decade career—tear sheets of drawings and comics taken directly from the publications where the works first appeared, magazine and album covers, broadsides from the 1960s and 1970s, tabloids from San Francisco’s Haight-Ashbury, Oakland, Manhattan’s Lower East Side, and other counterculture enclaves, as well as exhibition ephemera. Complementing this volume are historical works from the eighteenth and nineteenth centuries that have inspired Crumb and pages from his rarely seen sketchbooks from the 1970s and 1980s that reveal his exemplary skill as a draftsman.

Documenting the critically acclaimed exhibition 

Drawing for Print: Mind Fucks, Kultur Klashes, Pulp Fiction & Pulp Fact by the Illustrious R. Crumb 

at David Zwirner, New York, in 2019, curated by Robert Storr, this publication offers an opportunity to immerse oneself in Crumb’s singular mind. In the accompanying text, Storr explores the challenging nature of some of Crumb’s work and the importance of artists who take on the status quo.

Crumb’s World

A sculpture by Ruth Asawa, called Untitled (S.175, Hanging Single-Lobed, Four-Layer Continuous Form within a Form), dated c. 1992.

Edited by Timothy Anglin Burgard and Daniell Cornell

An expanded edition of the definitive book on Ruth Asawa’s fascinating life and her lasting contributions to American art.



The work of American artist Ruth Asawa (1926–2013) is brought into brilliant focus in this definitive book, originally published to accompany the first complete retrospective of Asawa’s career, organized by the Fine Arts Museums of San Francisco in 2006. This new edition features an expanded collection of essays and a detailed illustrated chronology that explore Asawa's fascinating life and her lasting contributions to American art. Beginning with her earliest works—drawings and paintings created in the 1940s while she was studying at Black Mountain College—this beautiful volume traces Asawa’s flourishing career in San Francisco and her trajectory as a pioneering modernist sculptor who is recognized internationally for her innovative wire sculptures, public commissions, and advocacy on behalf of public arts education.

Through her lifelong experimentations with wire, especially its capacity to balance open and closed forms, Asawa invented a powerful vocabulary that contributed a unique perspective to the field of twentieth-century abstract sculpture. Working in a variety of nontraditional media, Asawa performed a series of remarkable metamorphoses, leading viewers into a deeper awareness of natural forms by revealing their structural properties. Through her art, Asawa transfigured the commonplace into metaphors for life processes themselves.

establishes the importance of Asawa’s work within a larger cultural context of artists who redefined art as a way of thinking and acting in the world, rather than as merely a stylistic practice.

This updated edition includes a new introduction and more than fifty new images, as well as original essays that reflect on the impact of American political history on Asawa's artistic vision, her experience with printmaking, and her friendship with photographer Imogen Cunningham. Contributors include Susan Ehrens, Mary Emma Harris, Karin Higa, Jacqueline Hoefer, Emily K. Doman Jennings, Paul J. Karlstrom, John Kreidler, Susan Stauter, Colleen Terry, and Sally B. Woodbridge.

The Sculpture of Ruth Asawa: Contours in the Air

 is the first English translation of Franz Xaver Kroetz’s 1971 stage play

, part of a trilogy of radio plays from 1971 titled Trilogie Münchener Lebens. In his introduction to this book, Christopher Williams writes that “Inklusive consists of seven scenes of tightly scripted, sparsely rendered dialogue in regional Bavarian dialect...following the activities and conversations of a working-class West German couple on a prepaid all-inclusive vacation package in Italy. We are presented with a standardized list of tourist activities (sunbathing, morning walks on the beach, boat rides, picture-taking, and outdoor concerts) that are included in the program into which the couple has been inscribed.” Williams Studio along with Maximilian Klemens Sänger produced this translation as part of his ongoing research into Kroetz’s theatrical work for theatre, radio, and television.

Christopher Williams: Inklusive Franz Xaver Kroetz 1971

A spectacular and unprecedented visual biography of the leading pioneers and protagonists of modern art and design

Josef - painter, designer, and teacher - and Anni Albers - textile artist and printmaker - are among the twentieth century's most important abstract artists, and this is the first monograph to celebrate the rich creative output and beguiling relationship of these two masters in one elegant volume. It presents their life and work as never before, from their formative years at the Bauhaus in Germany to their remarkable influence at Black Mountain College in the United States through their intensely productive period in Connecticut.

Accessibly written, the book is packed with more than 750 artworks, archival images, and documents - many published here for the first time - all tracing the remarkable lives and careers of this legendary couple.

Dispersed throughout area series of short essays on artists that focuses on the Alberses relationship with a number of important artists and architects of the 20th century, like Ruth Asawa, Marcel Breuer, Merce Cunningham, Philip Johnson, Paul Klee, Jacob Lawrence, and many more.

The beautifully cloth-bound package utilizes an elegant color palette and design that speaks to the work of both artists. This comprehensive visual biography showcases the artists' rich and dynamic lives, and their infinite influence on each other, as they shared the profound conviction that art was central to human existence.

Anni & Josef Albers: Equal and Unequal

A painting by Lisa Yuskavage titled Night Classes at the Department of Painting Drawing and Sculpture, dated 2018-2020

Lisa Yuskavage, 2020. Photo by Jason Schmidt

Text by Christopher Bedford, Helen Molesworth, Heidi Zuckerman. Interview by Mary Weatherford

A new focus on the sublime landscapes in Lisa Yuskavage’s voluptuous figure paintings

Though she is arguably best known for the voluptuous female nudes that populate her paintings, Lisa Yuskavage’s work is just as focused on the ethereal settings in which these subjects appear. Yuskavage creates finely detailed landscapes that blur the line between the fantastical and the familiar, melding abstraction with realism to depict self-contained worlds. These outdoor scenes defy conventions of landscape painting with surreal color palettes of lush greens and delicate pinks, cast in a gauzy light quality that highlights the almost magical nature of her paintings.

Published in conjunction with a joint exhibition between the Aspen Art Museum in Colorado and the Baltimore Museum of Art in Maryland, this volume includes color reproductions of Yuskavage’s paintings and watercolors from the early 1990s to the present, as well as an interview between Yuskavage and fellow artist Mary Weatherford.

Lisa Yuskavage: Wilderness

"The godfather of colour photography has released a new photo book, shedding light on a little-known facet of his output—his sumptuously sun-drenched Polaroids.” –Daisy Woodward, AnOther

This book is a facsimile of an album of Eggleston's Polaroids assembled by the photographer himself, and containing the only photos he made in this medium. Consisting of 56 images taken with the Polaroid SX-70 (the now cult camera produced between 1972 and 1981) and hand-mounted in a black leather album also produced by the company, 

 is the first publication of Eggleston's Polaroids.

The gloriously mundane subjects of these photos—a Mississippi street sign, a telephone book, stacked crates of empty soda bottles—is familiar Eggleston territory, but, fascinatingly, all of these Polaroids were taken outdoors. They are rare records of Eggleston's strolls or drives in and around Mississippi, complementing the majority of his work made with color negative film or color slides, and showing his flair for photo-sequencing in book form.

William Eggleston: Polaroid SX-70

An installation view of the exhibition, Suzan Frecon: recent paintings, oil and water, at David Zwirner in London, dated 2022.

John Yau

The newest monograph dedicated to the striking new work of internationally acclaimed abstract painter Suzan Frecon.

 features new paintings, which highlight the artist’s ongoing exploration of the interaction of shape, color, texture, and light. Painted over long periods of time, these works are the result of a deliberative process guided by a deep understanding of color and the properties of paint. Frecon has been exploring the issues of horizontality and verticality, asymmetrical balances, and interacting arrangements of color for over five decades. The result is an ongoing dialogue that yields new and surprising paintings at every turn.

Frecon’s knowledge of color is deeply rooted in art history; her selection of color brings with it an understanding of the scientific properties of pigments as well as their use by Renaissance painters. Esteemed poet and critic John Yau explores this inspiration in his illuminating essay, in which he teases out the connections between these bold abstract works and historic figurative paintings. Highlighting Frecon’s interest in these paintings for their form and color rather than their narrative, Yau offers a new and intriguing way of looking at both present and past.

Suzan Frecon

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