Texts by Joaquin Barríendos and Lauren Hinkson

Albers in "the promised land of abstract art”: the little-known influence of Mexico

“Mexico is truly the promised land of abstract art,” Josef Albers wrote to his former Bauhaus colleague Vasily Kandinsky in 1936. 

 reveals the profound link between the art and architecture of ancient Mesoamerica and Albers’s abstract works on canvas and paper. With his wife, the artist Anni Albers, Albers toured pre-Columbian archeological sites and monuments during his twelve or more trips to Mexico and other Latin American countries between 1935 and 1968. On each visit, Albers took black-and-white photographs of pyramids, shrines, sanctuaries, and landscapes, which he later assembled into rarely seen photo collages. The resulting works demonstrate Albers’s continued formal experimentation with geometry, this time accentuating a pre-Columbian aesthetic.

 brings together photographs, photo collages, prints, and significant paintings from the 

 (1950–1976) series from the collections of the Solomon R. Guggenheim Museum and The Josef and Anni Albers Foundation. Two scholarly essays, an illustrated map, and vivid color reproductions of paintings and works on paper illuminate this little-known period in the influential artist’s practice.

Josef Albers in Mexico

Ingried Brugger

Heike Eipeldauer

Hal Foster

Martin Germann

Foreword by Ingried Brugger and Philippe Van Cauteren. Edited with texts by Heike Eipeldauer and Martin Germann. Conversation with the artist by Hal Foster

Marking the influential photographer’s first major European survey, this book features highlights from four decades of James Welling’s oeuvre.

Emerging out of the “Picture Generation”—a group of artists focused on a critique of photographic media—James Welling has gone on to experiment successfully in nearly every photographic genre. This monograph, designed by Joseph Logan in close collaboration with the artist, presents a selection of works from the early 1970s to today, demonstrating the artist’s conceptual foundations. Welling’s series are dialogues between image and matter, process and result, representation and abstraction. This volume includes, amongst other series, selections from 

, in which Welling matched the writing of his ancestors’ letters with Connecticut winter landscapes; 

 a meditation on Philip Johnson’s 1949 residence, shot using colored filters; 

, pure color photograms created in the darkroom; and 

, which track his early interest in painting and dance. The generous and vividly reproduced illustrations are accompanied by an extensive interview with the artist and critical essays that discuss Welling’s work in connection with American painting, post-modernism, and authorship, and the artist’s eloquently emotional photographic language.

James Welling: Metamorphosis

Lisa Lee

The work of German sculptor Isa Genzken is brilliantly receptive to the ever-shifting conditions of modern life. In her first book devoted to the artist, Lisa Lee reflects on Genzken’s tendency to think across media, attending to sculptures, photographs, drawings, and films from the entire span of her four-decade career, from student projects in the mid-1970s to recent works seen in Genzken’s studio.

Through penetrating analyses of individual works as well as archival and interview material from the artist herself, Lee establishes four major themes in Genzken’s oeuvre: embodied perception, architecture and built space, the commodity, and the body. Contextualizing the sculptor’s engagement with fellow artists, such as Joseph Beuys and Bruce Nauman, Lee situates Genzken within a critical and historical framework that begins in politically fraught 1960s West Germany and extends to the globalized present. Here we see how Genzken tests the relevance of the utopian aspirations and formal innovations of the early twentieth century by submitting them to homage and travesty. Sure to set the standard for future studies of Genzken’s work, 

 is essential for anyone interested in contemporary art.

Isa Genzken: Sculpture as World Receiver

Antonio Sergio Bessa

Jessamyn Fiore

Texts by Antonio Sergio Bessa and Jessamyn Fiore

"Undoing is just as much a democratic right as doing." — Gordon Matta-Clark

This revealing book looks at the groundbreaking work of Gordon Matta-Clark, whose socially conscious practice blurred the boundaries between contemporary art and architecture. After completing a degree in architecture at Cornell University, Matta-Clark returned to his home city of New York. There he employed the term “anarchitecture,” combining “anarchy” and “architecture,” to describe the site-specific works he initially realized in the South Bronx.

The borough’s many abandoned buildings, the result of economic decline and middle-class flight, served as Matta-Clark’s raw material. His series 

 dissected these structures, performing an anatomical study of the ravaged urban landscape. Moving from New York to Paris with 

, a piece that became emblematic of artistic protest, Matta-Clark applied this same method to a pair of seventeenth-century row houses slated for demolition as a result of the Centre Pompidou’s construction. This compelling volume grounds Matta-Clark’s practice against the framework of architectural and urban history, stressing his pioneering activist-inspired approach, as well as his contribution to the nascent fields of social practice and relational aesthetics.

Gordon Matta-Clark: Anarchitect

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

David Leiber

Text by Laura Mattioli. Contributions by John Baldessari, Lawrence Carroll, Vija Celmins, Mark Greenwold, Liu Ye, Wayne Thiebaud, Alexi Worth, and Zeng Fanzhi. Foreword by David Leiber

One of the most beloved painters of the twentieth century, Giorgio Morandi created works that continue to exert their mysterious power on viewers worldwide.

This publication focuses on the period from 1948 to 1964, during which Morandi developed and refined his investigations of serial, reductive, and permutational forms and compositions, a body of work that has had a profound influence on twentieth-century art and painting. Included here are five of the ten iconic “yellow cloth” paintings from 1952, a series featured prominently in the historic 1998 exhibition at the Peggy Guggenheim Collection in Venice, and numerous late paintings by the Italian master. Lavishly reproduced, these immersive plates draw attention to the idiosyncratic perspectival and color-driven decisions that give the work its abstract power. The catalogue is published on the occasion of the 2015 exhibition of Morandi’s paintings from this period at David Zwirner, New York—which, according to 

, represent “lucid perfection, at once cerebral and impassioned.” It marked the first major presentation of the artist’s late work in America since the acclaimed 2008 retrospective at The Metropolitan Museum of Art, New York.

In addition to an essay by Laura Mattioli and a foreword by David Leiber, who organized the exhibition, this catalogue includes a fantastic array of contributions by contemporary artists: John Baldessari, Lawrence Carroll, Vija Celmins, Mark Greenwold, Liu Ye, Wayne Thiebaud, Alexi Worth, and Zeng Fanzhi. They offer their personal responses to Morandi’s work and to the Zwirner exhibition in particular. Working in different media across many disciplines, this diverse list of contributors is a testament to the reach of Morandi’s paintings and their influence on contemporary art.

Giorgio Morandi: Late Paintings

Yve-Alain Bois

David Gray

Lisa Le Feuvre

Texts by Yve-Alain Bois, David Gray, and Lisa Le Feuvre

This new publication marks the first comprehensive survey of a seminal body of work that helped make Fred Sandback into the internationally celebrated artist he has become known as today.

This catalogue, published on the occasion of the exhibition at David Zwirner, New York, in the fall of 2016, takes its lead from a 1987 mid-career presentation of Sandback’s work at Westfälischer Kunstverein in Münster, also called 

. With a mixture of archival imagery of the sculptures in situ in Münster, and new photography of these works installed at Zwirner, this publication is both a historical document and a source of renewed attention to this body of work. It also features an expanded selection of sculpture, going beyond what was presented in the 1987 and 2016 exhibitions, to include key examples of vertical constructions spanning Sandback’s career.

New scholarship by Yve-Alain Bois revisits his leading argument that was put forth in his essay for the 2005 Kunstmuseum Liechtenstein catalogue about the power of Sandback’s immateriality—its ability to linger in our memories—in the context of the vertical constructions. Lisa Le Feuvre, a longtime scholar of sculpture, offers a more historical treatment of the show in relation to the artist’s writings and other works. Also included is a text by David Gray, who responds to Marianne Stockebrand’s original essay about the Münster installation; he reveals the dialogues around Sandback’s practice at the time and helps us reconstruct the way the influence of his vertical works has continued to grow in the thirty years since.

Fred Sandback: Vertical Constructions

Max Wechsler

A tribute to the long collaboration between Franz West and Galerie Eva Presenhuber, this volume offers a comprehensive yet singular overview of the artist\s oeuvre. Gathering together extensive documentation and rare archive material on the numerous exhibitions they organized together since 1995, the book is designed by NORM (Zurich) and introduced by art theoretician and friend of the artist Max Wechsler, who followed the work of Franz West closely for many years. His illuminating foreword starts: "Without doubt, he was an odd bird, a gifted idler, a Vienna man sui generis and eccentric par excellence."

The relationship between Franz West and Eva Presenhuber began 20 years ago in Zurich. In 1995 West exhibited at the Galerie Walcheturm—"Franz West mit eine Geste von Raymond Hains. Telefonskulpturen. Sitz– und Liegegelegenheiten"—of which Eva Presenhuber was the owner from 1989 to 1997. This first collaboration was followed by many others, including 

 in 2002, and after the foundation of Galerie Eva Presenhuber in 2002, 

 (2011). After West’s death in 2012 Galerie Eva Presenhuber presented the shows 

 (2015–2016) in cooperation with the Franz West Privatstiftung. This publication underlines the importance of the gallery space as an artistic laboratory, and highlights this particular relationship between an artist and his gallerist, especially when this one is a long-lasting and fruitful dialogue.

95–15

Franz West: Galerie Eva Presenhuber

Alice Michel

Jeff Nagy

ekphrasis

There are many myths about the artist Edgar Degas—from Degas the misanthrope to Degas the deviant, to Degas the obsessive. But there is no single text that better stokes the fire than 

, a short memoir published by Alice Michel, who purportedly modeled for Degas.

Never before translated into English, the text’s original publication in 

 in 1919, shortly after the artist’s death, has been treated as an important account of the master sculptor at work. We know that Alice was writing under a pseudonym, but who the real person behind this account was remains a mystery—to this day nothing is known about her. Yet, the descriptions seem too accurate to be ignored, the anecdotes too spot-on to discount; even the dialogue captures the artist’s tone and mannerisms.

What is found in these pages is at times a woman’s flirtatious recollection of a bizarre “artistic type” and at others a moving attempt to connect with a great, often tragic man. The descriptions are limpid, unburdened; the dialogue is lively and intimate, not unlike reading the very best kind of gossip, with world-historical significance. Here in these dusty studios, Degas is alive, running hands over clay, complaining about his eyes, denigrating the other artists around him, and whispering salaciously to his model. And during his mood swings, we see reflected the model’s innocence and confusion, her pain at being misunderstood and finally rejected. It is an intimate portrait of a moment in a great artist’s life, a sort of 

 in which his model (whoever she may be) does not emerge unscathed.

Degas and His Model

Edward A. Vazquez

Stretching lengths of yarn across interior spaces, American artist Fred Sandback created expansive works that underscore the physical presence of the viewer. This book, the first major study of Sandback, explores the full range of his art, which not only disrupts traditional conceptions of material presence, but also stages an ethics of interaction between object and observer.

Drawing on Sandback’s substantial archive, Edward A. Vazquez demonstrates that the artist’s work—with all its physical slightness and attentiveness to place, as well as its relationship to minimal and conceptual art of the 1960s—creates a link between viewers and space that is best understood as sculptural even as it almost surpasses physical form. At the same time, the economy of Sandback’s site-determined practice draws viewers’ focus to their connection to space and others sharing it. As Vazquez shows, Sandback’s art aims for nothing less than a total recalibration of the senses, as the spectator is caught on neither one side nor the other of an object or space, but powerfully within it.

Aspects: Fred Sandback's Sculpture

Nicholas Fox Weber

Manuel Cirauqui

T’ai Smith

By Anni Albers. Contributions by Manuel Cirauqui and T'ai Smith. Afterword by Nicholas Fox Weber

The classic book on the art and history of weaving—now expanded and in full color.

Written by one of the twentieth century’s leading textile artists, this splendidly illustrated book is a luminous meditation on the art of weaving, its history, its tools and techniques, and its implications for modern design. First published in 1965, 

 bridges the transition between handcraft and the machine-made, highlighting the essential importance of material awareness and the creative leaps that can occur when design problems are tackled by hand.

With her focus on materials and handlooms, Anni Albers discusses how technology and mass production place limits on creativity and problem solving, and makes the case for a renewed embrace of human ingenuity that is particularly important today. Her lucid and engaging prose is illustrated with a wealth of rare and extraordinary images showing the history of the medium, from hand-drawn diagrams and close-ups of pre-Columbian textiles to material studies with corn, paper, and the typewriter, as well as illuminating examples of her own work.

Now available for a new generation of readers, this expanded edition of 

 updates the book’s original black-and-white illustrations with full-color photos, and features an afterword by Nicholas Fox Weber and essays by Manuel Cirauqui and T’ai Smith that shed critical light on Albers and her career.

New Expanded Edition

Anni Albers: On Weaving

Detail view of Alice Neel's 1967 painting titled Richard

Hilton Als

Jeremy Lewison

By Hilton Als. Foreword by Jeremy Lewison

Known for her portraits of family, friends, writers, poets, artists, students, singers, salesmen, activists, and more, Alice Neel created forthright, intimate, and, at times, humorous paintings that quietly engaged with political and social issues.

, writer and curator Hilton Als brings together a body of paintings and works on paper of African-Americans, Latinos, Asians, and other people of color for the first time. Highlighting the innate diversity of Neel’s approach, the selection looks at those whose portraits are often left out of the art-historical canon and how this extraordinary painter captured them; “what fascinated her was the breadth of humanity that she encountered,” Als writes.

The publication, which opens with a foreword by Jeremy Lewison, advisor to The Estate of Alice Neel, explores Neel’s interest in the diversity of uptown New York and the variety of people amongst whom she lived. This group of portraits includes well-known figures such as playwright, actress, and author Alice Childress; the sociologist Horace R. Cayton, Jr.; the community activist Mercedes Arroyo; and the widely published academic Harold Cruse; alongside more anonymous individuals of a nurse, a ballet dancer, a taxi driver, a businessman, and a local kid who ran errands for Neel.

In short and illuminating texts on specific works written in his characteristic narrative style, Als writes about the history of each sitter and offers insights into Neel and her work, while adding his own perspective. A contemporary and personal approach to the artist’s oeuvre, Als’s project is “an attempt to honor not only what Neel saw, but the generosity of her seeing.”

This catalogue is published on the occasion of the 2017 exhibitions of Neel’s paintings and drawings at David Zwirner, New York, and Victoria Miro, London.

Alice Neel: Uptown

Billy Sullivan

Mimi Thompson

Stanley Whitney

John Yau

Text by John Yau. Interview with Stanley Whitney and Billy Sullivan by Mimi Thompson

Al Taylor began his studio practice as a painter and although he is more widely known for the three-dimensional works he started making in 1985, the artist maintained that his constructions weren’t “at all about sculptural concerns; [they come] from a flatter set of traditions.” Throughout his career, whether he worked on canvas, drawings and prints, or sculpture, the creative process of Taylor’s oeuvre was fundamentally grounded in the formal concerns of painting. Published on the occasion of an exhibition at David Zwirner, New York, in spring 2017, 

 is the first book to focus exclusively on the artist’s works on canvas, featuring a selection of rarely seen paintings created between 1971 and 1980.

New scholarship by poet and art critic John Yau examines the visual relationships that connect Taylor’s paintings, drawings, and sculptural objects, while also reflecting on the art world in New York City during the 1970s. In addition, a conversation conducted by Mimi Thompson between renowned painters Stanley Whitney and Billy Sullivan—all of whom knew Taylor well during his lifetime—provides insight into his reputation as an “artist’s artist.” Twenty-six paintings are at the heart of this catalogue—embodying the subtleties of reduction and restraint, they nonetheless have hints of the idiosyncratic playfulness that would come to characterize Taylor’s later works. In some canvases, the artist delineates spatial perspectives by incorporating the wall in shaped compositions where a single color often dominates; elsewhere, it is the interaction of his color juxtapositions and fluid paint application that energize the canvas. Both painterly and sculptural in their address, these works deviate from the usual tropes of abstraction to uniquely engage space, perception, and possess a lyrical rhythm.

This new publication reveals and validates the importance of Al Taylor’s paintings both within his own practice and in the context of twentieth-century abstraction.

Al Taylor: Early Paintings

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

Wolfgang Tillmans: There were 30 years between 1943 and 1973. 30 years from 1973 was the year 2003.

1. Hamburg Süd part 1
2. MMMMM aah
3. Hamburg Süd part 2
4. HaHaHaHa
5. Hamburg Süd part 3
6. Nee IYaow eow eow
7. Hamburg Süd part 4
8. EEEEEEEhh
9. Hamburg Süd part 5
10. Device Control (intro)
11. Hamburg Süd part 6

12. It's Completely Changed
13. Throw A View
14. Mmmmeehh
15. Hihihi hee
16. Soda Streatm
17. Overdub (calm to chaos Jul28)
18. Morning Return
19. Make It Up As You Go Along
20. Device Control

Wolfgang Tillmans: Hamburg Süd / Nee IYaow eow eow

Albert Camus

Neil Cox

Francesco Stocchi

Michelle White

Texts by Albert Camus, Neil Cox, Francesco Stocchi, and Michelle White

Richard Serra: Drawings 2015–2017: Rambles, Composites, Rotterdam Verticals, Rotterdam Horizontals, Rifts

 at Museum Boijmans Van Beuningen in Rotterdam, this catalog is an in-depth look at the artist’s recent drawing practice.

The exhibition encompasses more than 70 works from five different series, 

, many of which have never been seen before publicly, as well as a selection of his notebooks and films. Examining the ways properties inherent to sculpture are brought onto paper, the drawings are epistemological adjuncts to Serra’s lifelong sculptural explorations.

Designed by McCall Associates in close collaboration with the artist, 

 features new scholarship by art historian Neil Cox and exhibition curator Francesco Stocchi, a chronology of the drawings by curator Michelle White, as well as a historical text by Albert Camus selected by Serra. This book introduces readers to Serra’s most recent series and reaffirms his innovation and contribution to the practice of drawing.

Richard Serra: Drawings 2015–2017

Featuring R. Crumb’s most outrageous sexual comics, Bible of Filth is possibly the dirtiest book around.

One of America’s most celebrated cartoonists, Crumb helped define cartoon and punk subcultures of the 1960s and 1970s with comic strips like 

. The open sexuality of his work, paired with frequent self-deprecation and a free, almost stream-of-consciousness style, has made Crumb into a global voice and a renowned contemporary artist.

Originally published in France in 1986 by Futuropolis, the first edition of 

 was never distributed in the United States because of its graphic sexual content, which included some of Crumb’s most explicit comics from underground magazines such as 

. This revised and expanded English edition, published by David Zwirner Books, contains all the original pieces from the 1986 volume, with over one hundred pages of additional material. Organized chronologically, there are comics from 1968 to 1986 that were omitted from the first edition and an entirely new selection of work from after 1986.

Printed on bible paper and bound in leather, with gold debossing and edging, this volume looks and feels like a traditional bible, with no outward suggestion of what it contains. This revised and expanded 

 is the perfect introduction for newcomers, while retaining its status as an important collector’s item for Crumb enthusiasts around the world.

Out of stock

R. Crumb: Bible of Filth

Jean-Claude Lebensztejn

By Jean-Claude Lebensztejn. Translated by Jeff Nagy

Jean-Claude Lebensztejn’s history of the urinating figure in art, 

, is at once a scholarly inquiry into an important visual motif, and a ribald statement on transgression and limits in works of art in general. Lebensztejn is one of France’s best-kept secrets. A world-class art historian who has lectured and taught at major universities in the United States, his work has remained almost entirely in French, his American audience limited to a small but dedicated group of cognoscenti.

—the iconic little boy whose stream of urine supplies water to this famous fountain and is also the logo for a Belgian beer company—the author takes the reader through a semi-scatological maze of cultural history. The earliest example is a fresco scene located directly above Cimabue’s 

 from around 1280 at the Basilica of Saint Francis of Assisi, in which Lebensztejn’s careful eye locates an angel behind a pillar who looks like he is about to urinate through a hole in his garment. He continues to navigate expertly through cultural twists and turns, stopping to discuss Pier Paolo Pasolini’s 1968 film 

, for example, and Marlene Dumas’s 1996–1997 homage to Rembrandt’s pissing woman. At every moment, Lebensztejn’s prose is lively, his thinking dynamic, and his subject matter entertaining.

In this short and poignant cultural history, readers not only find the care for detail that has made Lebensztejn into one of the greatest European art historians, but also the rebelliousness that makes him one of the most interesting intellectuals of our time. The first widely distributed book of Lebensztejn’s in English, 

 is simultaneously published in France by Éditions Macula.

Pissing Figures 1280–2014

Brenda Danilowitz

A superb facsimile of the only known notebook of legendary artist Anni Albers, this publication offers insight into the methodology of a modern master.

Beginning in 1970, Anni Albers filled her graph-paper notebook regularly until 1980. This rare and previously unpublished document of her working process contains intricate drawings for her large body of graphic work, as well as studies for her late knot drawings. The notebook follows Albers's deliberations and progression as a draftsman in their original form. It reveals the way she went about making complex patterns, exploring them piece by piece, line by line in a visually dramatic and mysteriously beautiful series of geometric arrangements.

An afterword by Brenda Danilowitz, Chief Curator of The Josef and Anni Albers Foundation, contextualizes the notebook and explores the role studies played in the development of her work.

Anni Albers: Notebook 1970–1980

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

Doro Globus

Karsten Schubert

Edited by Doro Globus and Karsten Schubert

The present volume includes the vast majority of significant essays on Bridget Riley written since 1999. This was a particularly fruitful period in the reception of her work, as the discourse broadened and her reputation as one of the most important painters of her generation solidified.

The essays range from biographical and career overviews to detailed analysis of specific aspects or themes that occur throughout Riley’s career. The selection reflects a rich body of work, which sustains the interest of important authors, as evidenced by multiple pieces by Éric de Chassey, Lynne Cooke, Robert Kudielka, Paul Moorhouse, and Richard Shiff. Together, this volume of essays tells the story of an artist whose art has continuously evolved over nearly six decades.

Most of the critical texts have been written in close consultation with the artist, the result of long conversations, studio visits and archive access. Largely commissioned on the occasion of particular exhibitions, these essays track and trace Riley’s focus and influences at different moments in time. Each essay builds upon the next, with more recent authors clearly responding and referencing earlier discourse. The result is a collection of great breadth and cohesion.

 represents a monumental body of research and analysis by some of the most important art historians of today. It also offers the opportunity for the reader and the viewer to approach Riley from a plethora of perspectives to form their own view, much reflecting Riley’s own particular approach to art history. As John Elderfield puts it: "Effectively, Riley makes a pact with the viewer, through the medium of the painting, that they will collaborate in eliciting from a particular painting a particular sort of mobile visual array. And, when the viewer stops looking at the painting, it will therefore be as if leaving something that continues to go on."

 Michael Bracewell, Nadia Chalbi, Eric de Chassey, Lynne Cooke, Jonathan Crary, John Elderfield, Lucius Grisebach, Martin Hentschel, Dave Hickey, Robert Kudielka, Anne Montfort, Paul Moorhouse, Marla Prather, Karen Serres, Richard Shiff, Frances Spalding, Barnaby Wright and Semir Zeki

About Bridget Riley: Selected Writings 1999–2016

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Yayoi Kusama

Akira Tatehata

Text by Akira Tatehata. Poem by Yayoi Kusama

Widely recognized as one of the most popular artists in the world, Yayoi Kusama has shaped her own narrative of postwar and contemporary art. Minimalism and Pop art, abstraction and conceptualism coincide in her practice, which spans painting, sculpture, performance, room-sized and outdoor installation, the written word, films, fashion, design, and architectural interventions. Born in 1929 in Matsumoto, Japan, Yayoi Kusama briefly studied painting in Kyoto before moving to New York City in the late 1950s. In the mid-1960s, she established herself in New York as an important avant-garde artist by staging groundbreaking happenings, events, and exhibitions. Now in her late 80s, Kusama is entering one of the richest creative periods of her life. Immersed in her studio six days a week, Kusama has spoken of her renewed dedication to creating art over the past years: “[N]ew ideas come welling up every day….Now I am more keenly aware of the time that remains and more in awe of the vast scope of art.”

 documents the artist's most recent exhibition at David Zwirner, New York, which marked the US debut of 

, an all-white, domestic interior that viewers are invited to cover with dot stickers of various sizes and colors. Taking 

 as its centerpiece, this catalogue reveals, in vivid large-scale plates, the transformation of the space from a clean white interior to a stunningly saturated room, with ceilings, walls, and furniture covered in myriad multicolored stickers put there by viewers over the course of the exhibition. The catalogue also includes beautiful reproductions of Kusama's new large-format paintings from 

 series. Ranging from bright and densely pixelated forms, to umber figures with darker blues and muted oranges, these paintings demonstrate the artist's striking command of color, and her exceptional control over balance and contrast. Bold brushstrokes hover between figuration and abstraction; vibrant, animated, and intense, these paintings introduce their own powerful pictorial logic, at once contemporary and universal. The catalogue continues with a selection of new, large 

 sculptures, a form that Kusama has been exploring since her studies in Japan in the 1950s, and which gained prominence in the 1980s, continuing to remain an essential part of her practice. Made of shiny stainless steel and featuring painted dots or dot-shaped perforations that recall 

, these immersive works seem created on human scale, with the tallest measuring 70 inches (178 cm). Vibrant plates capture how color, shape, size, and surface merge in these sculptures and mesmerize the viewer. Texts include a "Hymn to Yayoi Kusama" by art critic and poet Akira Tatehata and a poem by the artist herself.

Yayoi Kusama: Give Me Love

Tom McDonough

 has been a fixed component of his exhibitions since he first showed a version of the multi-part tabletop installation in 2005. Often arising from local circumstances and current issues at the time of their creation, the 

 works mark an endeavor to establish a clear perspective in confusing times. The scope and complexity of this project become apparent for the first time through this book—the second, following 

Over the span of 320 pages (printed using a high-resolution technique), Tillmans presents an alternative chronology of the present. Far exceeding his original and main medium of photography, he juxtaposes a variety of contrary opinions, statements, and comparisons on recurring table formats. The dimensions of the wooden tables, which he designed himself, are not arbitrary: they are built using standard British door panels, 78 inches long, and with one of four different standard widths.

This book gives an overview, through lavish reproductions, of this new form of collage in which picture, text, and object “are only kept in place by their own weight,” as the photographer puts it. An essay by Tom McDonough, Professor for Art History at Birmingham University, New York, places Tillmans’s project within the context of 20th-century collage, from Hannah Höch to Robert Rauschenberg. This artist’s book, produced in Tillmans’s Berlin atelier, includes a Fresnel magnifying glass, making it possible to zoom in on the contents and read even the smallest of printed texts.

Wolfgang Tillmans: What's wrong with redistribution?

A1 That's Desire (featuring Ash B.)
A2 Fast Lane
A3 Anderes Osterlied

Wolfgang Tillmans: That's Desire / Here We Are EP 

A1 Device Control
A2 Angered Son (live with Kyle Combs)
A3 Angered Son (W solo)

AA1 Make It Up As You Go Along SALEM Remix
AA2 Make It Up As You Go Along DANIEL WANG & J.E.E.P. Remix
AA3 Make It Up As You Go Along DANIEL WANG & J.E.E.P. Dub

Wolfgang Tillmans: Device Control EP

Alex Needham

, Wolfgang Tillmans (born 1968) chronicles East London’s art scene and nightlife of the early 2000s, as well as his friendship with collaborator and artist Conor Donlon. The book sees Donlon’s appearance and style changing, as well as his backdrops: a 2003 demonstration against George W. Bush’s state visit; a picnic at the park after an opening at Tillmans’s exhibition space Between Bridges; the bright yellow walls of Tillmans and Donlon’s home; long-gone LGBT clubs The Ghetto and The Joiners’ Arm; and quieter moments spent talking in the studio and around town.

Tillmans’s photographs are at once intimate and emblematic of a flourishing arts era, where both artists’ work gained momentum. 

 culture editor Alex Needham introduces the work with an essay about Donlon’s initial role as Tillmans’s assistant, contextualizing the artists’ collaboration and the inception of London independent bookstore Donlon Books in 2008.

Wolfgang Tillmans: Conor Donlon

Tracklist:
A1 Make It Up As You Go Along
A2 Triangle / Gong / What
B1 Fascinating This Time
B2 Stranger
B3 Time Flows All Over

How to introduce the first record by Wolfgang Tillmans? Now considered one of the most significant visual artists working today, his very first passion in life lay with music. This record features on its B-side three songs recorded in 1986 in his home town of Remscheid. The A-side features two pieces recorded in 2015/2016. The 29-year gap in between were marked by Tillmans exploring music, pop, and club culture from many different angles.

‘Make It Up As You Go Along’ is a pulsing dance track based on the recordings of a book printing press in a factory in Stuttgart. Morphed through various production stages, the press’s syncopations and Tillmans’s serendipitouspenditous vocals merge into an intoxicating track that could become a summer festival early a.m. favorite. ‘Triangle / Gong / What’ is an experimental offering, which combines the sounds of playing a special alloy triangle, a 999 fine gold gong, and a vocal, fused through a particular gain manipulation during the recording process.

The 1986 side features three songs which Tillmans wrote and recorded with collaborator Bert Leßmann. A single channel recording from the rehearsal room was all he had from back in the day. With the help of Tim and Klaus Knapp the recordings were filtered and equalized, and then supported with precise reconstructions of the original instruments. Out of this production process spanning 30 years, a unique time capsule emerged, which portrays a small-town teenager with some ambition. ‘Time Flows All Over’ is a haunting reminiscence of the angst and energy of the mid-1980s, infused with surprising contemporary relevance.

Wolfgang Tillmans: 2016 / 1986 EP

All Books

Collect: Discover, Buy and Sell Art

David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.