A painting by Nate Lowman, titled Maria, dated 2022.

Taking humanity and popular culture as his subject matter, Nate Lowman approaches these themes as an active participant in the collective American experience. Underscoring this is desire: a longing for something or someone, or a wish for something to happen. The duality inherent in desire is contained in Lowman’s use of well-known images whose meanings are both instantly recognizable and constantly in flux. Appropriated, relatable images and language from American pop culture and its 24-hour news cycle form a narrative and tell part of the American story. Angels, poppies, hearts, pine-tree air fresheners, smiley faces, iconic celebrities, crosses and news articles—all presented through the lens of desire—confront viewers with the things of modern life that are often left unsaid and unexamined.

For more than a decade, Nate Lowman has produced paintings, sculptures, and (often salon-style) installations that process and represent the unfolding human experience in a visual environment of endlessly proliferating public media archives. Re-presenting and reframing techniques of image reproduction as painterly practice, Lowman constructs narratives condensed in layers of studio techniques, including printing, cropping, projecting, cutting, staining, repurposing, lacquering, stripping, and stretching. His paintings explore the capacity of images to mediate between the personal and the universal in cycles of decay and renewal.

Published on the occasion of the Aspen Art Museum’s exhibition of the New York–based artist, Nate Lowman is the first comprehensive monograph on the artist to date.

Nate Lowman: Before and After

Laila Pedro

Spotlight Series

Lying deep within the urban metropolis of Hong Kong, Happy Valley is one of the most iconic racecourses in the world. It is also the chief source of inspiration for a new body of work by American artist Marcel Dzama.

Jockeys ride through waves and cathedrals, Chinese symbols pulled from racing paraphernalia adorn the edges of paper, and bats swoop, hunting for prey. Dzama’s distinct visions of the racetrack come alive through a series of large-scale paintings and drawings, transposing imagery from his prolific oeuvre into this adrenaline-filled sporting arena. His new works reflect on the culture of horseracing and how the track has become not only a symbol of sport, but also of commerce, class, and wealth.

The publication includes a conversation between Dzama and Laila Pedro. Published on the occasion of his solo exhibition at David Zwirner, Hong Kong in 2019, 

Marcel Dzama: Crossing the Line

The paintings by Mamma Andersson on these pages are mostly new works, many of them from the exhibition she curated at the São Paulo Art Biennial. With this publication the intention has been to reveal Andersson’s work in a new context, outside the walls of a gallery, alongside two photographers—Hanna Moon and Martina Hoogland Ivanow—inspired by her universe. As Mamma says of the titles of her works, our wish is “to provide viewers with a platform to direct their thoughts onto a track that they hadn’t thought of...” Hanna Moon, the South Korean artist and fashion photographer, joins Mamma Andersson in Brazil as she installs her exhibition at the 2018 Bienal de São Paulo. Moon’s photographic project is the antithesis of reportage, a personal investigation of her experience of the city. Her confrontational work may appear on first glance to be a million miles from Andersson’s, and yet in its tone, intimate but also unfamiliar and disturbing, we perhaps trace reverberations of Andersson’s universe.

Mamma Hanna Martina: Text Paintings Photos

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

Jarrett Earnest

Hanna Schouwink

Text by Jarrett Earnest. Foreword by Hanna Schouwink

 is the first survey of the artist’s small-scale paintings. While Yuskavage is primarily known for larger canvases, these intimate works offer a new window into her transgressive paintings and complex and influential oeuvre.

Based on the artist’s imagination, live models, maquettes, and found and staged photographs, the small paintings in this book demonstrate Yuskavage’s methodical exploration of how images are created and their sources. Some of the small works are studies for large paintings, while others revisit preexisting images. Yet others are one-of-a-kind compositions only created on this intimate scale. As places for experimenting with color, form, and characters as well as a variety of formats—including stretched and unstretched linen, canvas boards, wood, and paper—these paintings play a remarkably dynamic and pivotal role within her work. This catalogue presents the paintings to scale so readers can explore the works as if seeing them in person.

Documenting the artist’s exhibition at David Zwirner, New York, in 2018, this catalogue includes an essay by Jarrett Earnest that illuminates Yuskavage’s early influences and explores the constant, often surprising themes that can be found throughout her art.

Small Paintings, 1985–2018

Lisa Yuskavage: Babie Brood

Portrait of Kerry James Marshall, 2018. Photo by Jason Bell

Legendary Chicago-based painter Kerry James Marshall is as much an astute social critic and incredible authority on art history as he is a painter’s painter. In addition to reproductions of paintings, this book presents the text of a speech Marshall gave at Museum Ludwig in Cologne, Germany, upon receiving the Wolfgang Hahn Prize in 2014, a prize awarded annually to artists who have an “oeuvre that has consistently and substantially continued to develop and is recognized by international experts.”

In the lecture he talks about his life, about his interest in Afro-American culture, about social injustice, race relations, power dynamics, and ultimately calls for the black subject, so long ignored in art history, to finally be represented—in reaction to the fact that beauty has been synonymous with being white through almost all of art history.

Out of stock

Kerry James Marshall: Inside/Out

Teju Cole

Hal Foster

Kerry James Marshall is one of America’s greatest living painters. 

 presents a groundbreaking body of new work that engages with the history of the medium itself.

, the artist has widened his scope to include both figurative and nonfigurative works that deal explicitly with art history, race, and gender, as well as force us to reexamine how artworks are received in the world and in the art market. In the paintings in this book, Marshall’s critique of history and of dominant white narratives is present, even as the subjects of the paintings move between reproductions of auction catalogues, abstract works, and scenes of everyday life.

Essays by Teju Cole and Hal Foster help readers navigate the artist’s masterful vision, decoding complexly layered works such as 

 (2018) and Marshall’s own artistic philosophy. This catalogue is published on the occasion of Marshall’s eponymous exhibition at David Zwirner, London, in 2018.

Kerry James Marshall: History of Painting

Paul Klee and Hans Bloesch met while they were still in school and remained friends all their lives. They also took their first steps as artists together: Bloesch as a writer, Klee as a painter. From 1902 to 1905 they collaborated on an open project, which they simply called "Das Buch" (The Book). Bloesch contributed poems, Klee watercolors and drawings. However, they finally lost interest in it and "Das Buch" was abandoned.

Today it represents an extraordinary discovery because it contains many previously unknown works by Paul Klee and for the first time provides a broad insight into his early artistic development. This volume contains a facsimile of "Das Buch" including transcripts, commentaries, and two essays on this astonishing discovery.

A Joint Project from the Years 1902 to 1905

Hans Bloesch and Paul Klee: Das Buch

A still from a film by Francis Alys, titled Children’s Game #26: Kisolo, Tabacongo, DR Congo, dated 2021.

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

Portrait of Michaël Borremans. Photo by Pascal Gamarte

Sigmar Polke, Magnetische Landschaft (Magnetic Landscape), 1982

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

Dawn Ades

Olivier Berggruen

J. Patrice Marandel

Nicholas Hall

Texts by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel. Introduction by Nicholas Hall

Endless Enigma: Eight Centuries of Fantastic Art

 explores the ways in which artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion.

 takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, 

, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries.

Presenting works from the twelfth century to the present day, this catalogue is organized into six themes—Monsters & Demons, Dreams & Temptation, Fragmented Body, Unconscious Gesture, Super Nature, and Sense of Place. Works included range from medieval gargoyles to twentieth-century works by Louise Bourgeois, Sigmar Polke, and Pablo Picasso as well as contemporary works by Michaël Borremans, Marcel Dzama, and Raymond Pettibon. Masterworks from the likes of Piero di Cosimo, Francisco de Goya, and Titian are considered alongside those by William Blake and Odilon Redon. Time folds and temporal barriers collapse when Damiano Cappelli meets Edvard Munch, and Salvator Rosa encounters Luc Tuymans and Lisa Yuskavage. Salvador Dalí, Sherrie Levine, Giuseppe Arcimboldo, Kerry James Marshall—eight centuries intersect and, as such, this wide-ranging catalogue examines affinities in intention and imagery between works executed across a broad span of time.

Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this fully illustrated catalogue is published on the occasion of the eponymous exhibition at David Zwirner, New York, in 2018. It includes new scholarship by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel.

 presents sixty interviews with the artist over the course of four decades and is the first compilation of its kind. It is the companion volume to the critically acclaimed and bestselling 

This collection of interviews engages a diverse range of topics, from philosophy and politics to Judd’s insightful critiques of his own work and the work of others such as Mark di Suvero, Edward Hopper, Yayoi Kusama, Barnett Newman, and Jackson Pollock. The opening discussion of the volume between Judd, Dan Flavin, and Frank Stella provides the foundation for many of the succeeding conversations, focusing on the nature and material conditions of the new art developing in the 1960s. The publication also gathers a substantial body of unpublished material across a range of mediums, such as radio and film, including extensive interviews with art historians Lucy R. Lippard and Barbara Rose.

Judd’s contributions in interviews, panels, and extemporaneous conversations are marked by his forthright manner and rigorous thinking, whether in dialogue with art critics, art historians, or his contemporaries. In one of the last interviews with Christopher Felver, Judd observed, “Generally, expensive art is in expensive, chic circumstances; it’s a falsification. The society is basically not interested in art. And most people who are artists do that because they like the work; they like to do that [make art]. Art has an integrity of its own and a purpose of its own, and it’s not to serve the society. That’s been tried now in the Soviet Union and lots of places, and it doesn’t work. The only role I can think of, in a very general way, for the artist is that it [art] tends to shake up the society a little bit just by its existence, in which case it helps undermine the general political stagnation and, perhaps by providing a little freedom, supports science, which requires freedom. If the artist isn’t free, you won’t have any art."

 is copublished by Judd Foundation and David Zwirner Books. The interviews expand upon the artist’s thinking present in 

 (Judd Foundation/David Zwirner Books, 2016).

Donald Judd Interviews

Installation view of Carol Bove at the Met, New York, 2022.

Johanna Burton

Interview with the artist by Johanna Burton

 presents new work by “sculpture’s woman of steel,” as coined by Randy Kennedy in 

. Her new sculptures expand on her investigations of materiality and form.

Characterized by compositions of various types of steel, Bove’s ongoing series of “collage sculptures,” begun in 2016, amalgamates theoretical and art-historical influences across time periods and disciplines. To create these lyrical and abstract assemblages, Bove pairs fabricated tubing that has been crushed and shaped at her studio with found metal scraps and a single highly polished disk. Luminous color is applied to parts of the composition, transforming the steel—more commonly associated with inflexibility and heft—into something that appears malleable and lightweight, like clay, fabric, or crinkled paper.

Bove’s new works are smaller in scale and elaborate on the “collage sculptures,” with more complex forms that twist, fold, and bend into postures that belie their material construction. She manipulates steel to varying degrees, rendering gentle folds in some, and extreme, almost anthropomorphic contortions in others. Their contrasting textures—matte, glossy, or rough—create a further sense of visual play, heightening the surface tension throughout.

This publication features a new interview with the artist by Johanna Burton. Published on the occasion of the artist’s solo exhibition at David Zwirner, Hong Kong, in 2019, 

Carol Bove: Ten Hours

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

Robert Kudielka

Richard Shone

Neil MacGregor

E.H. Gombrich

Michael Craig-Martin

Andrew Graham-Dixon

Bryan Robertson

Edited by Robert Kudielka. Introduction by Richard Shone. Conversations with Bridget Riley, Neil MacGregor, E.H. Gombrich, Michael Craig-Martin, Andrew Graham-Dixon, Bryan Robertson

Bridget Riley is one of the outstanding figures of modern painting. She has pursued a course of rigorous abstraction for over fifty years, from her celebrated black and white Op Art works in the 1960s to the complex color paintings of the 1990s. On the occasion of a major exhibition of her work in 1992 at London’s Hayward Gallery, BBC Radio broadcast a series of five dialogues, each one between Riley and a well-known figure from the art world. These encounters, edited by an art historian, are contained in this book. With Neil MacGregor, Riley discusses the art of the past in relation to the art of the present; with Sir Ernst Gombrich the perception of color in painting; with the artist Michael Craig-Martin, the theory and practice of abstraction; and with the critics Bryan Robertson and Andrew Graham-Dixon, she talks about events and travels that have influenced her as an artist. Taken as a whole, this series forms an excellent introduction to the work and ideas of one of the most creative minds of today.

Bridget Riley: Dialogues on Art

Michael Bracewell

Éric de Chassey

John Elderfield

Dave Hickey

Text by Michael Bracewell, Éric de Chassey, John Elderfield, Dave Hickey, Robert Kudielka, Bridget Riley, Richard Shiff, Frances Spalding, David Sylvester, and David Thompson. Foreword by Dr Simon Groom, Sir John Leighton, and Ralph Rugoff

A landmark exhibition catalogue reflects on almost 70 years of works by Bridget Riley, from some of her earliest to very recent projects, providing a unique record of the work of an artist still very much at the height of her powers. Essays from leading scholars and commentators on Riley’s work will make this title the authority on Riley’s practice.

Includes a selection of critical writings, statements and conversations specially selected by the artist as well as her own writings. The book starts with David Sylvester’s review of her first exhibition in 1962 and ends with Éric de Chassey’s newly commissioned 2019 essay.

In the last decade, Riley has continued to push her practice considerably, producing several large-scale site-specific wall paintings as well as continuing to develop new paintings. This book will explore these recent developments, and also examine the notable influence that other artists such as Georges Seurat and Piet Mondrian have had on Riley’s work.

Bridget Riley

Detail view of Alice Neel's 1967 painting titled Richard

Helen Molesworth

Ginny Neel

Text by Helen Molesworth. Introduction by Ginny Neel. Contribution by Marlene Dumas

One of the foremost American figurative painters of the twentieth century, it is not surprising that Alice Neel was a humanist—she was fascinated by people.

Known for her daringly honest portraits, Neel loved to paint people in all their complexities—to penetrate and reveal their fears and anxieties. She also loved to paint the unadorned human figure. Her nudes, in particular, explore the body with frankness while celebrating the individuality of each of her subjects, and they exemplify the freedom and courage with which she approached her work and her life.

Through her paintings and works on paper, Neel was able to free herself from the expected inhibitions and crippling taboos that were placed on women and focus on the beauty and nuanced complexity of flesh and the human body. In their mastery of form, color, and implied social commentary, her nudes are as relevant today as when they were painted.

 documents the solo exhibition of the artist’s work at David Zwirner in New York in 2019. Including works that span the 1920s to the 1980s, this presentation focuses primarily on the nude figure—whether male or female, adult or child—and demonstrates how Neel rebelled against and challenged the traditional perceptions of sexuality, motherhood, and beauty in our society. The catalogue includes newly commissioned scholarship by Helen Molesworth and an introduction by Ginny Neel of The Estate of Alice Neel.

Learn more about the artist 

Alice Neel: Freedom

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

Ruth Asawa with hanging wire sculpture, 1951. Photo © Imogen Cunningham Trust

This lushly illustrated book by collage artist Andrea D'Aquino brings Asawa's creative journey to life, detailing the influence of her childhood in a farming family, and her education at Black Mountain College where she pursued an experimental course of education with leading avant-garde artists and thinkers such as Anni and Josef Albers, Buckminster Fuller, Merce Cunningham, and Robert Rauschenberg. Delightful and substantial, this engaging title for young art lovers includes a page of teaching tools for parents and educators.

The Story of Ruth Asawa

A Life Made by Hand

Patrick Modiano

Dominique Zehrfuss

Damion Searls

ekphrasis

Poems by Patrick Modiano. Illustrated by Dominique Zehrfuss. Translated with an introduction by Damion Searls

Published in English for the first time, 

 is the marriage of prose and painting by Nobel-prize winning author Patrick Modiano and his partner, the illustrator Dominique Zehrfuss.

 is a rare book: it reveals not only the individual talents of the authors, Modiano and Zehrfuss, but also the depth of the couple’s creative union. Sensitively translated into English for the first time by Damion Searls, 

 captures the exquisite sadness of waking from a beautiful dream. There are twenty-eight dreams in this book, or perhaps one dream in twenty-eight parts—visions of paradise imagined by Zehrfuss during a time of deep sadness. Captured first in Zehrfuss’s brightly colored gouaches, each paradise was then refashioned as a poem by Modiano.

Zehrfuss’s paintings are Edens in miniature, and rather than describe them outright, Modiano dreams himself into these reveries in quiet, understated verse. The reader enters this shared realm in an experience less like paging through a book and more like slipping into a shared world. These paradises are wishes for moments when a painting, or a poem, or a lover—perhaps they are not so different—relieves the loneliness of being human. As Modiano writes with a touch of wistfulness, “The Lilliputian painted her paradises / And I / Next to her / Wrote a poem.” A pure example of ekphrastic writing—poetry inspired by paintings—this book shows how writing and visual art can together create a unique emotional experience.

First published by Editions de l’Olivier/ Le Seuil in 2005

28 Paradises

Yun Hyong-keun (1928–2007) was one of the most prominent abstract monochromists. Internationally admired during his life (Donald Judd was an advocate and friend), he belongs to a generation of artists whose influence has been crucial since the end of the Korean War. Both the war itself and its aftermath deeply affected the artist. In the 1970s Yun Hyong-keun joined the Dansaekhwa movement, a leading group of Korean artists whose monochromatic paintings intensively explored the effects and nature of color.

This handsomely produced volume, accompanying a major exhibition at the Palazzo Fortuny in Venice, offers a cornucopia of artistic and personal materials from the artist’s estate, which together provide great insight into the life and work of one of the 20th century’s most important abstractionists.

Yun Hyong-keun (Palazzo Fortuny)

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

Fred Moten

Seeing Shakespeare

By William Shakespeare. Illustrated by Chris Ofili. Introduction by Fred Moten

 remains one of Shakespeare’s most contemporary and moving plays, with its emphasis on race, revenge, murder, and lost love. Chris Ofili’s new edition highlights the tragedy of Othello’s plight in ways no other volume of this play has.

In the twelve etchings Ofili has produced to illustrate this play, Othello is depicted with tears in his eyes, which flow below various scenes visualized in his forehead. Ofili asks us to see in 

 the great injustices that still plague the world today. These images add feeling to Shakespeare’s words, and together they form their own hybrid object—something between a book and a visual retelling of the tragedy. With a foreword by the renowned critic Fred Moten, this edition is the first of its kind and puts Othello’s blackness and interiority front and center, forcing us to confront the complex world that ultimately dooms him.

Dialogues:
The David Zwirner Podcast
Chris Ofili and Emily Wilson

 in front of an audience at the 69th Street gallery in New York, artist Chris Ofili and classicist Emily Wilson encounter religion, art, personal history, gender issues, Trinidad, Greece, truth, and lies.

William Shakespeare × Chris Ofili: Othello

A painting by Marlene Dumas, titled Longing, dated 2018.

Hafid Bouazza

Marlene Dumas

By William Shakespeare. Translated by Hafid Bouazza. Illustrated by Marlene Dumas

 (1593) is a poem by William Shakespeare based on passages from Ovid’s 

. This new translation by Hafid Bouazza of Shakespeare’s text is illustrated by Marlene Dumas, the renowned painter celebrated around the world for her highly charged depictions of the human form.

Through a series of expressive ink washes, Dumas paints new passion into the poem—bodies bleed into one another, lips part in sighs of passion, a flower blooms to life. Desire in all its heady intensity is evocatively washed over the pages. As with Dumas’s wider body of work, however, tragedy is not forgotten and is frighteningly played out with equal intensity. The owl, “night’s herald,” as Shakespeare writes, flies jet black across the sky; a wild boar looms like a shadow over Adonis’s suffering, wounded body; black dissolves into gray; and bodies are lost in a sea of ink.

The poem tells the story of Venus, the goddess of love, and her attempts to seduce the hunter Adonis. It is a complex, kaleidoscopic work in which love takes center stage—Venus’s lustful yearning for Adonis ripples throughout, each stanza and line tinged with unrequited longing. As Venus declares, “Graze on my lips, and if those hills be dry, / Stray lower, where the pleasant fountains lie.” Like Shakespeare before her, Dumas opens up a seemingly unending flow between light and dark, love and death, pleasure and pain.

Dumas’s complete suite of thirty-two works on paper is reproduced in this volume, exactingly placed by the artist throughout Shakespeare’s text. Copublished by Athenaeum and David Zwirner Books as an English/Dutch edition, the book is a striking yet beautiful paradox—a marriage of text and image that is as sensual, fleshy, and carnal as it is unnerving and disturbing.

Venus & Adonis

Okwui Enwezor

Interview with the artist by Okwui Enwezor

Over the course of his three-decade career, Thomas Ruff has taken up many approaches to photography in his investigation into the status of the image in contemporary culture.

, the artist presents new work that continues his ongoing probe into the history, processes, techniques, and technology of photography. One of the most influential artists working with photography today, Ruff has redefined the medium’s conceptual possibilities, simultaneously capturing and challenging the essence of the medium as a means for visual experience. He has investigated various photographic genres, including portraiture, the nude, and landscape and architectural photography, using both analog and digital technologies, and culling imagery from scientific archives, print media, and the internet.

Presented here is a selection of Ruff’s most well-known works, as well as the newer 

 series, begun in 2018, which draws on negatives of India and Burma taken in the 1850s by Captain Linnaeus Tripe, an officer in the East India Company. Also included is a conversation between Ruff and Okwui Enwezor, which took place at Haus der Kunst in Munich, in connection with the artist’s retrospective then on view. The conversation, published here for the first time, has been edited for this volume and examines Ruff’s artistic practice and inspiration, serving as an engaging and dynamic introduction to the artist.

Published on the occasion of the artist’s solo exhibition at David Zwirner, Hong Kong, in 2019, 

 and bilingual English/traditional Chinese editions.

Thomas Ruff: Transforming Photography (Bilingual)

Trine Otte Bak Nielsen

This original volume juxtaposes the work of two artists: the South African–born, Netherlands-based painter Marlene Dumas (b. 1953) and the Norwegian artist Edvard Munch (1863–1944). Organized by Dumas, the project stems from her longstanding, personal connection to the works of Munch. The book focuses particularly on Munch’s 1908–9 series of lithographs titled 

 and on a new series of works by Dumas titled 

. Both series deal with themes of innocence, sexuality, loneliness, anxiety, and death, and each is structured around a love story. Through this book, Dumas shows us how she perceives Munch not simply as an emotional expressionist, but rather as an intelligent artist thoughtfully reflecting on human conditions in general.

Omega’s Eyes: Marlene Dumas on Edvard Munch

Portrait of Neo Rauch, 2023. Photo by Uwe Walter.

Daniel Kehlmann

One of the most influential figurative painters of his generation, Neo Rauch presents bold, new work in 

Rauch is widely celebrated for his captivating compositions that bring together figurative painting and surrealism into an entirely new kind of visual encounter. They often hint at broader narratives and histories—seemingly reconnecting with artistic traditions of realism—but they remain dreamlike and impossible to reduce to a single story. Though his art is highly refined and executed with great technical skill, Rauch himself stresses the intuitive, deeply personal nature of how he works. As the artist notes, “My process is far less a reflection than it is drawing from the sediments of my past, which occurs in an almost trance-like state.”

Eight large-scale canvases and seven smaller, more intimately scaled works continue the artist’s exploration of figuration and the ambiguous nature of meaning in visual art. In some of the larger works, the saturation of the canvas with characters, objects, and forms, all rendered at different scales and in conflicting arrangements, creates a collage-like quality—a figurative scrapbook of Rauch’s personal iconography.

The publication features a short story by German novelist and playwright Daniel Kehlmann, which was inspired by the paintings in this book. The fantastical text moves between present-day New York and an unknown time of enchanted forests, knights, and witches, exploring the many layers found in Rauch’s canvases. Published on the occasion of the artist’s solo exhibition at David Zwirner Hong Kong in 2019, 

Neo Rauch: PROPAGANDA (Bilingual)

Claire Messud

Marlene Dumas’s works respond more than ever to the uncertainty and sensuality of the painting process itself. Allowing the structure of the canvases and the materiality of the paint greater freedom to inform the development of her compositions, the artist has likened the creation of these works to the act of falling in love: an unpredictable and open-ended process that is as filled with awkwardness and anxiety as it is with bliss and discovery.

 documents a selection of paintings—debuted in the spring of 2018 at David Zwirner, New York—ranging from monumental nude figures to intimately scaled canvases that present details of bodily parts and facial features. Several nearly ten-foot-tall paintings focus on individual figures, including a number of male and female nudes and a seemingly solemn bride, whose expression is obscured behind a floor-length veil. Like the Greek gods and goddesses, the figures in these paintings are at once larger than life and overwhelmingly human. The smaller-scale paintings—referred to by the artist as “erotic landscapes”—present a variety of fragmentary images: eyes, lips, nipples, or lovers locked in a kiss. Evident across all of these works is the artist’s uniquely sensitive treatment of the human form and her constantly evolving experimentation with color and texture.

Alongside these paintings, Dumas presents an expansive series of thirty-two works on paper originally created for a Dutch translation of William Shakespeare’s narrative poem 

 is accompanied by new scholarship on the artist by Claire Messud and a text by Dumas herself.

Marlene Dumas: Myths & Mortals

The publication includes a conversation between Dzama and Laila Pedro. Published on the occasion of his solo exhibition at David Zwirner, Hong Kong in 2019, 

Marcel Dzama: Crossing the Line (Bilingual)

Luc Tuymans in his studio, 2022. Photo by Otman Q

Eva Meyer-Hermann

Over the course of four decades, Belgian painter Luc Tuymans has created his own distinctive vernacular, a new visual vocabulary. The second volume in a catalogue raisonné of Tuymans’s paintings surveys nearly two hundred works, including some of his most iconic canvases.

Between the years 1995 and 2006, Tuymans’s work trended toward ideas of national and collective memory. In 1996, the artist created a group of ten paintings entitled 

, for which he transformed familiar images of American life, such as Mount Rushmore, baseball caps, and the United States flag, into unsettling visions, addressing the country’s perceived vulnerability, both physical and psychological, following the 1995 Oklahoma City bombing. Paintings from 

, his seminal body of work that was first shown at David Zwirner, New York, in 2000, after which he expanded the series for his presentation for the Belgian Pavilion at the Venice Biennale in 2001, depict imagery derived from the fraught history of Belgian colonial rule of the Democratic Republic of the Congo. Also included is one of Tuymans’s best-known paintings, 

 (2005), a powerful yet seemingly vulnerable portrayal of Condoleezza Rice, which conjures the long history of racial and sexual prejudice in the United States, not as something that has been overcome, but as an active force shaping our reality.

This volume includes an editor’s note by Eva Meyer-Hermann and an illustrated chronology with archival images and installation views of the featured works. It also presents brilliant color reproductions of each painting from this period. This publication is a testament to Tuymans’s persistent assertion of the relevance and importance of painting—a conviction that he maintains even in today’s digital world, when his work continues to be a touchstone for artists and scholars.

1995–2006

Luc Tuymans Catalogue Raisonné of Paintings: Volume 2

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