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

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

Spotlight Series

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, 

 and bilingual English/traditional Chinese editions.

Out of stock

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

Laila Pedro

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 (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

Foreword by Frances Morris. Introduction by Mark Godfrey and Christine Macel. Texts by Monika Bayer-Wermuth, Christine Macel, Martin Prinzhorn, and Mark Godfrey

An anarchic free spirit, self-taught until the age of thirty, Franz West remained in the shadows of the Viennese art scene for nearly fifteen years before becoming known in the international art world in the 1980s. Today he is regarded as a pivotal figure of contemporary art, whose work continues to inspire younger artists. West's output ranged from lumpy papier mâché objects to installations of divans for viewers to lounge on, from painted collages to outdoor sculptures shaped like intestines and turds. It was at once popular and esoteric, active and contemplative, corporeal and intellectual, philosophical and playful.

West produced thousands of works over forty years, and this fully illustrated catalogue provides a remarkable picture of the artist's exceptionally rich career. Further insight into West's practice is provided through essays by Mark Godfrey, Christine Macel and Martin Prinzhorn, an illustrated chronology, and some thirty previously unpublished testimonies from close associates and friends of the artist, from Kasper König to Bice Curiger and Sarah Lucas.

Franz West (Tate)

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 (Bilingual)

14.08.041_mama-mummy-and-mamma-predecessors-2_splash_1

Portrait of Njideka Akunyili Crosby. Photo by Stefan Ruiz

Njideka Akunyili Crosby’s colorful collage-paintings lay bare the complexities of the African and diasporic experience

Nigerian-born, Los Angeles–based artist Njideka Akunyili Crosby's figurative paintings at first appear to be paintings of quotidian indoor scenes inspired by the artist's personal photographs of friends and family in Nigeria. But on closer inspection, it becomes clear that large segments of these paintings are composed of collages, themselves created from personal photos and images taken from Nigerian magazines.

This richly textured appearance conveys the complexities of the African and diasporic experiences of Akunyili Crosby and of the people whose likenesses she captures in her paintings. In her series 

, Akunyili Crosby paints Nigerian children as they appear in everyday life, posing in a classroom or standing pajama-clad next to the TV. This book features full-color reproductions of the paintings with detail shots that allow the reader to see the collage work up close, as well as an introductory essay by the well-known art writer Siddhartha Mitter.

Njideka Akunyili Crosby: The Beautyful Ones

An installation view of an exhibition titled Andra Ursuta: Void Fill at David Zwirner, Paris, in 2021.

Edited by Karen Marta, Massimiliano Gioni. Text by Ali Subotnick.

Imbued with the collective memories of Romanian culture, Andra Ursuta's work uses her grim past to tackle our harsh present. This book includes an essay by Ali Subotnik on Ursuta's stark recreations of cultural turmoil.

Andra Ursuta: 2000 Words

This first volume in a catalogue raisonné of Tuymans’s paintings surveys nearly 200 works from the vital early years of his career

Credited with a key role in the revival of painting in the 1990s, Belgian artist Luc Tuymans (b. 1958) continues to produce subtle, and at times unsettling, works that engage with history, technology, and everyday life. This first volume in a catalogue raisonné of Tuymans’s paintings surveys nearly 200 works that were vital to his artistic development. The years 1972 to 1994 witnessed the maturation of his signature method of painting from preexisting imagery—such as magazine images, Polaroids, and television footage—as well as his first solo exhibition. Also dating from this period are many of his seminal canvases, along with ten poignant portraits of the ailing human body and the enigmatic series Superstition that comprised his first works exhibited in the United States.

The catalogue features brilliant new photography of each of the paintings and an illustrated chronology with archival images and installation shots of the works in this volume. 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.

1972–1994

Luc Tuymans Catalogue Raisonné of Paintings: Volume 1

A detail from a painting by Katherine Bernhardt, titled Escape from New York, dated 2020.

Vivid paintings of Swatch watches from the collection of Katherine Bernhardt

New York painter Katherine Bernhardt (born 1975) began collecting Swatch watches as a teenager in suburban Saint Louis. Obsessed by their shapes, variety of graphics and their air of pop sophistication, they became a constant in Bernhardt's visual life. She has completed numerous paintings of Swatches over the last decade, and this volume, published on the occasion of her Swatch-focused exhibition in August 2017 at Karma, pictures her original Swatch collection, kept for all these years, as well as a generous selection of her Swatch-themed paintings.

Katherine Bernhardt: Swatches

This book collects drawings, supplemented by her own photographs, by artist Katherine Bernhardt (born 1975), of midcentury modern houses in the Hamptons, Fire Island and Martha's Vineyard. Bernhardt spent the summer of 2017 living at Elaine de Kooning House in East Hampton. She and her son embarked on bike rides around the area, and Bernhardt became fascinated by, as she writes, "huge and small wonderful wood and glass masterpieces, some with crazy window shapes, some A-frames, some with concrete, all interesting designs ... I started making fast black ink sumi-e-like drawings of the houses, breaking down the houses to their basic forms of line." Featuring an introductory text by the artist and a historical overview by David Sokol of architecture in the Hamptons, 

 offers a unique, personal account of the forms and structures of modernist vacation homes.

Katherine Bernhardt: Houses

An installation by Huma Bhabha, titled We Come in Peace, at the Metropolitan Museum of Art in New York, dated 2017.

Text by Shanay Jhaveri, Ed Halter and Sheena Wagstaff

A compact volume that illuminates the work of Huma Bhabha and chronicles her piece for the 2018 Met Roof Garden commission.

Often described as “post apocalyptic,” the work of Pakistani sculptor Huma Bhabha (b. 1962) responds to the violence and turmoil in the world around her through depictions of anthropomorphic figures that often appear to be dismembered, melted, or dissected. This compact volume, accompanying a site-specific installation at the Metropolitan Museum’s Roof Garden, features an interview with the artist that provides new insight into her diverse influences. Essays discuss the impact of cinema and science fiction on Bhabha’s sculpture, explore art historical connections, and illuminate the artist’s process and oeuvre over the past 20 years. Like the installation, this book—the sixth in a series devoted to the Met’s Roof Garden Commissions—connects Bhabha’s contemporary practice to both art history and global current events.

Huma Bhabha: We Come in Peace

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Jenni Sorkin

In a unique style that is both sensory and utopian, Yayoi Kusama’s work possesses a highly personal character, yet one that has connected profoundly with large audiences around the globe. Throughout her career she has been able to break down traditional barriers between work, artist, and spectator.

Kusama’s work—which spans paintings, performances, room-size presentations, sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures—has transcended some of the most important art movements of the second half of the twentieth century, including pop art and minimalism. Conveying extraordinary vitality and passion, her work seems to encompass an autobiographic, even confessional dimension. As stated by Roberta Smith in 

, “These paintings form a great big infinity room of their own, but one in which each part is also an autonomous work of art, its own piece of wobbly, handwrought infinity. You may not want to know these paintings Ms. Kusama has made, but in the moment their vitality is infectious. It is the vitality of an artist who lives to work, whose work keeps her alive.”

 documents the artist’s exhibition at David Zwirner’s Chelsea location in New York in late 2017, featuring a selection of paintings from her iconic 

series, new large-scale flower sculptures, a polka-dotted environment, and two 

. The monograph includes new scholarship on the artist by Jenni Sorkin, as well as a special foldout poster.

Yayoi Kusama: Festival of Life

A detail of a photograph by Wolfgang Tillmans titled Sicily Morning, dated 2018.

Preface by Bridget Oetker and Isabel Podeschwa. Introduction by Wolfgang Tillmans. Contributions by Philipp Hübl, Jonas Kaplan, Joe Keohane, and Michael Seemann. Interviews with Lionel Barber, Carolin Emcke, Sigmar Gabriel, Bianca Klose, Stephan Lewandowsky, Brendan Nyhan, and Wolfgang Schäuble by Wolfgang Tillmans


 is the title of this year’s edition of Sternberg Press's Jahresring, guest-edited and designed by Wolfgang Tillmans. Since the early 2000s Tillmans has been working on 

, a series of works concerned with absolute claims of truth in social and political contexts.

Circling around contemporary issues of newly resurfaced right-wing populism, the phenomenon of fake news, and psychological findings such as the backfire effect, Tillmans, rather than analyzing the status quo, focuses on what has changed in the past ten, twenty, thirty, forty years. Why are societal consensus and institutions now under attack?

Tillmans interviewed scientists, politicians, journalists, and social workers, highlighting the issues at stake from various angles. The publication also contains analytic texts and studies that shed further light on what happens in our brain, ethics, and online behavior when we are confronted with statements that oppose our political beliefs. Tillmans associated these texts with his own images as well as visual material found in print and online. While designing this year’s Jahresring, he has created photocopy works using the four-color scan process on a machine from the 1990s—an early digital collage technique that resonates with the complexity of the situation we find ourselves in today.

Jahresring 64

Wolfgang Tillmans: What Is Different?

Allie Biswas

Interview with the artist by Allie Biswas

Presenting recent developments in Wolfgang Tillmans’s portraiture and still lifes, 

 features a broad selection of new and recent works that respond to their surroundings while at the same time embodying a self-contained environment.

Few artists have shaped the scope of contemporary art and influenced a younger generation more than Wolfgang Tillmans. Since the early 1990s, his works have epitomized a new kind of subjectivity in photography, pairing intimacy and playfulness with social critique and the persistent questioning of existing values and hierarchies. Through his seamless integration of genres, subjects, techniques, and exhibition strategies, he has expanded conventional ways of approaching the medium, and his practice continues to address the fundamental question of what it means to create pictures in an increasingly image-saturated world.

Published on the occasion of Tillmans’s exhibition at David Zwirner in Hong Kong in 2018, this fully bilingual catalogue juxtaposes pictures of intimacy and friendship with views and angles of the world at large. An aerial view of the Sahara desert displays almost infinite detail while being monochromatic and near-abstract in appearance. In line with Tillmans’s interest in exhibitions as amplifiers of a particular, underlying perspective, each of the works engages in an intricate system of relationships between its aesthetic elements, subject, and institutional setting. Seen together, they implicate the viewer as an active part of the dialogue. The 2016 interview with author Allie Biswas of 

 has been edited and expanded by the artist for this catalogue.

Wolfgang Tillmans: DZHK Book 2018

Texts by James Rondeau, Kate Nesin, and Juliane Rebentisch

This publication examines both the art-historical framework of Tomma Abts’s painting as well as its deep philosophical and psychological dimensions.

With a rigorous approach and self-imposed limitations to both scale and composition, Tomma Abts (b. 1967) has reinvigorated painterly abstraction and its relevance within contemporary art. Using a fixed canvas size and a vertical format, Abts deploys basic formal elements such as arcs, circles, planes, and stripes to create powerful works that are at once subtle and eccentric. This extraordinary book, designed in collaboration with the artist herself, is a substantial and deeply insightful treatment of her career to date and features sixty works made over the past decade. Essays not only contextualize Abts’s work within an art-historical framework of methods, process, and style, but also examine her paintings’ philosophical and psychological dimensions and their embodiment of a creative process that transcends the specifics of any particular work.

Tomma Abts

Vernon Lee

Dylan Kenny

ekphrasis

An openly lesbian, feminist writer, Vernon Lee—a pseudonym of Violet Paget—is the most important female aesthetician to come out of nineteenth century England.

Though she was widely known for her supernatural fictions, Lee hasn’t gained the recognition she so clearly deserves for her contributions in the fields of aesthetics, philosophy of empathy, and art criticism. An early follower of Walter Pater, her work is characterized by extreme attention to her own responses to artworks, and a level of psychological sensitivity rarely seen in any aesthetic writing. Today, she is largely overlooked in curriculums, her aesthetic works long out of print.

David Zwirner Books is reintroducing Lee’s writing through the first-ever English publication of "Psychology of an Art Writer" (1903) along with selections from her groundbreaking "Gallery Diaries" (1901–1904), breathtaking accounts of Lee’s own experiences with the great paintings and sculptures she traveled to see. Ranging from deeply felt assessments of the way mood affects our ability to appreciate art, to detailed descriptions of some of the most powerful personal experiences with artworks, these writings provide profound insights into the fields of psychology and aesthetics. Her philosophical inquiries in 

leave no stone unturned, combining fine-grained ekphrases with high fancy and dense abstraction. The diaries, in turn, establish Lee as one of the most sensitive writers about art in any language.

With a foreword by Berkeley classicist Dylan Kenny, which guides the reader through these writings and contextualizes these texts within Lee’s other work, this is the quintessential introduction to her astonishing and complex oeuvre.

The Psychology of an Art Writer

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

Diaries and journals have a long, complex history within visual culture. American artist Sherrie Levine continues the tradition with 

Inspired by Polish writer Witold Gombrowicz’s 

 and its famed opening entries, written in 1953— “Monday: Me. Tuesday: Me. Wednesday: Me. Thursday: Me.”—Levine prints the word “ME.” on each calendar page in 

. Levine’s diary is a playful riff on autobiography amidst our narcissistic culture.

Sherrie Levine: Diary 2019

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

Tiffany Bell

Robert Storr

Known for her extensive body of intricate and dynamic wire sculptures, American sculptor, educator, and arts advocate Ruth Asawa challenged conventional notions of material and form through her emphasis on lightness and transparency.

Asawa began her now iconic looped-wire works in the late 1940s while still a student at Black Mountain College. Their unique structure was inspired by a 1947 trip to Mexico, during which local craftsmen taught her how to create baskets out of wire. While seemingly unrelated to the lessons of color and composition taught in Josef Albers’s legendary Basic Design course, these works, as she explained, are firmly grounded in his teachings in their use of unexpected materials and their elision of figure and ground.

Presenting an important and timely overview of the artist’s work, this monograph brings together a broad selection of her sculptures, works on paper, and more. Together the body of work demonstrates the centrality of Asawa’s innovative practice to the art-historical legacy of the twentieth century. In addition to an incredible group of photographs of the artist and her work by Imogen Cunningham, a selection of rare archival materials will illustrate a chronology of the artist’s life and work. Featuring an extensive text by Tiffany Bell which explores the artist’s influences, history, and, most importantly, the work itself, as well as a significant essay by Robert Storr discussing Asawa’s work in relation to mid-twentieth century art history, culture, and scientific theory.

Ruth Asawa

Marilyn Monroe, Ronaldinho, and now Lolita—the layers of newspaper that line Rose Wylie’s studio floor are a frequent source of material for the artist. Drawing from such wide-ranging cultural areas as film, literature, mythology, news images, sports, and individuals she meets in her day-to-day life, Wylie paints colorful and exuberant compositions that are uniquely recognizable. This new limited-edition zine, titled 

, puts these larger-than-life works front and center, Wylie’s animated, vivacious strokes now canvassing the page.

Bold, wild, and continually humorous, Rose Wylie creates paintings and drawings that at first glance appear aesthetically simplistic, not seeming to align with any recognizable style or movement, but on closer inspection are revealed to be wittily observed and subtly sophisticated mediations on the nature of visual representation itself. These works make use of an idiosyncratic visual lexicon, the directness of cartoonish figures, and a flattened perspective, but simultaneously betray a deep awareness of art history and painterly conventions.

, this zine presents a new series of paintings and works on paper made specifically for Wylie’s second solo exhibition at David Zwirner, London in 2018. Loosely referencing a house that was constructed across the street from Wylie’s residence in Kent, England, 

 continues the artist’s ongoing fascination with the shifting nature of memory and the multi-layered external associations that become attached to it over time.

Rose Wylie: Lolita's House

Clarrie Wallis

Rose Wylie trained as an artist in the 1950s, but it was her re-engagement with painting in the early 1980s, after a period spent raising a family, that marked the beginning of a remarkable career that continues to evolve and impress. This monograph, the first of its kind, follows Wylie\s fascinating artistic journey, celebrating her achievements while also examining her current practice.

Rose Wylie\s large-scale paintings are inspired by a wide range of visual culture. Her subject-matter ranges from contemporary Egyptian Hajj wall paintings and Persian miniatures to films, news stories, celebrity gossip and her observation of daily life. Often working from memory, she distills her subjects into succinct observations, using text to give additional emphasis to her recollections. In weaving together imagery from different sources with personal elements, Wylie's paintings offer a direct and wry commentary on contemporary culture. Her pictures refuse judgment but reveal a concern with the everyday that makes visible its enigmatic core.

Drawing on a series of extended interviews with the artist, Clarrie Wallis unpicks the complexities of Wylie's visual language, so providing an important contribution to our understanding and appreciation of a significant and increasingly celebrated figure in contemporary British art.

Rose Wylie

Hal Foster

Richard Serra

“The rhythm of the body moving through space has been the motivating source of most of my work.”—Richard Serra

Drawn from talks between celebrated artist Richard Serra and acclaimed art historian Hal Foster held over a fifteen-year period, this volume offers revelations into Serra’s prolific six-decade career and the ideas that have informed his working practice. 

 is both an intimate look at Serra’s life and work, with candid reflections on personal moments of discovery, and a provocative examination of sculptural form from antiquity to today. Serra and Foster explore such subjects as the artist’s work in steel mills as a young man; the impact of music, dance, and architecture on his art; the importance of materiality and site specificity to his aesthetic; the controversies and contradictions his work has faced; and his belief in sculpture as experience. They also discuss sources of inspiration—from Donatello and Brancusi to Japanese gardens and Machu Picchu—revealing a history of sculpture across time and culture through the eyes of one of the medium’s most brilliant figures.

Introduced with an insightful preface by Foster, this probing dialogue is beautifully illustrated with duotone images that bring to life both Serra's work and his key commitments.

Richard Serra: Conversations about Sculpture

Edited with text by Anna Szech. Text by Fabienne Eggelhöfer

 examines a previously little-explored aspect of the artist’s oeuvre. Among the nearly 10,000 works Klee created in the course of his career are some of the most pioneering and influential examples of modernist abstraction—works that continue to resonate today.

Starting in 1913, this book presents around 100 works from all periods of Klee’s career, reproducing paintings and drawings from numerous renowned institutions and private collections in Europe and overseas. The works are grouped under four themes—nature, architecture, painting, and graphic characters—that show how Klee constantly oscillated between the semi-representational and the absolute abstract.

Paul Klee: The Abstract Dimension

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