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

Marlene Dumas

Mariska Van Den Berg

Text by Marlene Dumas. Edited by Mariska Van Den Berg

From the beginning, language has played an important role in the work of Marlene Dumas. Her earliest collages make use of text, and she often writes poetical monikers or captions directly onto her drawings, such as “The Eyes of the Night Creatures” or “Miss Interpreted.” Over the last 30 years, the artist has written texts ranging from aphorisms, statements and short poetic pieces to longer analytical essays. Her writing focuses on her own work, discussing its subject matter, its politics, background and source material, as well as its critical reception and her own cultural position as an artist. “I am always ‘not from here,” she writes in one text (a poem), “even though I try to know or understand ‘what’s going on’ and what the rules are and how they keep on changing and what that means. When looking at images I’m not lost, but I’m uneasy.”

, originally published in a long out-of-print (and rare) Dutch edition in 1998 and now revised and expanded, provides a selection of her best and most representative writings from 1982–2014.

Notes and Texts 1982–2014

Marlene Dumas: Sweet Nothings

is a limited edition zine published on the occasion of the artist's exhibition at the New York Art Book Fair 2015. Printed digital offset in an edition of 250 numbered copies, this publication was composed by Dzama and includes a selection of recent collages and etchings, as well as film stills from 

Une danse des bouffons (or A jester's dance)

Marcel Dzama: Death Disco Issue 1

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

Colin Chinnery

Will Self

This book brings together the most recent work by Luc Tuymans. It will be shown in the Talbot Rice Gallery in Edinburgh in the autumn of 2015. 

 shows Tuymans’s fascination with the Scottish Enlightenment and its thinkers, who believed in the ability of humans to shape their future rationally and whose influence extended as far as the United States. Stimulated by a visit to the art collection of the University of Edinburgh, Tuymans did three small portraits of Scottish philosophers, originally painted by the eighteenth-century portrait artist Henry Raeburn. The theme of the Enlightenment is combined with menacing horror: in a monumental dark work, 

, or in the portrait of the murderer and cannibal Issei Sagawa. The British writer Will Self wrote a remarkable short story for 

, and the art critic Colin Chinnery has contributed an explanatory essay.

Luc Tuymans: Birds of a Feather

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

Christopher Bedford

Suzanne Hudson

Catherine Lord

Siddhartha Mukherjee

Katy Siegel

Texts by Christopher Bedford, Suzanne Hudson, Catherine Lord, Siddhartha Mukherjee, and Katy Siegel

Accompanying a major exhibition, this stunning survey and important monograph highlights more than two decades worth of Lisa Yuskavage’s brilliant and controversial paintings. Internationally acclaimed American painter Lisa Yuskavage is known for her seductive yet unsettling work, in which cartoony, vulgar, angelic, young nymphs are cast within fantastical landscapes or theatrical interiors. In this dazzling monograph she presents the confrontational imagery, luscious paint, and technical virtuosity that are her signature, blurring the boundaries between high art's classic female nudes and their popular culture counterparts.

This comprehensive new volume offers a rich overview of the artist’s work with interpretive essays by leading art historians and an interview with the artist. This will be the definitive book on this important artist.

Paintings 1991–2015

Lisa Yuskavage: The Brood

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

Robert Storr

Angela Choon

Text by Robert Storr. Interview with the artist by Angela Choon

With a career spanning almost three decades, Kerry James Marshall is well known for his complex and multilayered portrayals of youths, interiors, nudes, housing estate gardens, land- and seascapes, all of which synthesize different traditions and genres while seeking to counter stereotypical representations of black people in society. Working across various mediums, from paintings and comic-style drawings to sculptural installations, photographs, and videos, the artist conflates actual and imagined events from African-American history, integrating a range of stylistic influences to address the limited historiography of black art.

Produced on the occasion of Marshall’s first exhibition at David Zwirner in London in 2014 and designed by JNL Design in Chicago, 

 features beautiful reproductions of every painting on view in the show as well as numerous details, preparatory drawings, installation photographs, new scholarship by Robert Storr and a conversation between the artist and Angela Choon, a Senior Partner at the gallery. As suggested by the show’s title, these portraits use the etymological differences between looking and seeing as their point of departure, featuring subjects whose dissociated stares seem as defiant as they are mystifying. In keeping with his signature approach, Marshall has painted his figures in strikingly opaque black pigments, both fashioning and abstracting their presences in order to assimilate the limitations and contradictions of style, subject, and chronology inherent in art-historical narratives written from a white, Western perspective. Taken all together, the range of materials included in 

 constitutes a vibrant and comprehensive portrait of Marshall’s original and ever-evolving practice.

Kerry James Marshall: Look See

Jordan Wolfson, 2023, National Gallery of Australia. Photo by Karlee Holland. Courtesy National Gallery of Australia

Martin Germann

Esther Leslie

Aram Moshayedi

Linda Norden

Philippe Van Cauteren

Introduction by Martin Germann and Aram Moshayedi. Texts by Esther Leslie, Linda Norden, and Philippe Van Cauteren. Interview with the artist by Aram Moshayedi

This book, which sold out almost immediately upon publication, is a reprint of the catalogue produced on the occasion of Wolfson’s 2012–2013 exhibitions at REDCAT (Roy and Edna Disney/CalArts Theater) in Los Angeles and the Stedelijk Museum voor Actuele Kunst (S.M.A.K.) in Ghent. Entitled 

, the S.M.A.K. presentation marked the most comprehensive survey of Wolfson’s work to date. The volume’s eponymous title effectively expresses the artist’s interest in the ego and its image as well as destabilizing differences between life and imitation, reality and imagination. Anchored by full-scale color plates of Wolfson’s three animations—video stills, details, and installation views of the ambitiously conceived 

 (2012)—the book provides a critical framework for the artist’s vast and varied practice.

Images are given context by illuminating scholarship by Esther Leslie and Linda Norden, and a conversation between Aram Moshayedi and Wolfson brings their analyses to ground. Also included is a letter personally addressed to the artist by Philippe Van Cauteren. In Wolfson’s words, his work is “about reaching a place of displacement and control within the space of viewing”; this text exists as an embodiment of that ever-evolving vision, which considers the developments of digital and analogue animation as essential to the histories of modernism and modernity, and posits them as responsible for shaping and relaying the concerns of sculptural and pictorial modes of representation, and defining our relationship to both images and objects.

Jordan Wolfson: Ecce Homo / le Poseur

Andreas Laszlo Konrath

Jordan Wolfson

Gaea Woods

Text by Jordan Wolfson. Photographs by Andreas Laszlo Konrath and Gaea Woods

Over the past decade, Jordan Wolfson has become known for his thought-provoking works in a wide range of media, including video, sculpture, installation, photography, and performance. He pulls intuitively from the world of advertising, the Internet, and the technology industries to produce ambitious and enigmatic narratives. However, instead of simply appropriating found material, the artist creates his own unique content, which frequently revolves around a series of invented, animated characters.

This artist’s book is the product of close collaboration between Wolfson and the book designer Joseph Logan. Initially conceived to document the artist’s 2014 exhibition at David Zwirner in New York—his first with the gallery, debuting new sculptural work, a critically acclaimed video, and a much-discussed animatronic sculpture—the publication ultimately exists as a hybrid between an exhibition catalogue and a stand-alone expression of Wolfson’s vision. Featuring a dynamic layout and large color plates, the book is anchored by extensive photo documentation of Wolfson’s bewitching 

, which combines elements of installation and performance in the figure of a curvaceous, scantily clad woman covered in dirt marks and wearing a witch mask. Presented are photographs by Andreas Laszlo Konrath, who documented many aspects of the exhibition, including behind-the-scenes images of its installation. Also included are reproductions of Wolfson’s new series of wall-mounted sculptures comprised of bumper stickers overlaid on inkjet prints, candid photographs of the artist taken by Gaea Woods, and a text by the artist providing context for the visual material.

Jordan Wolfson: California

Julien Bismuth

Dylan Kenny

David Zwirner

Lucas Zwirner

Texts by Julien Bismuth and David Zwirner. Contributions by Dylan Kenny and Lucas Zwirner. Interview with Linda Norden

Up to his untimely death in 2006 at age 41, Jason Rhoades carried out a continuous assault on aesthetic conventions and the rules governing the art world—wryly subverting those very conditions by using them as materials for his work. In 2002, Rhoades introduced the world to his PeaRoeFoam, a “brand new product and revolutionary new material” created from whole green peas, fish-bait style salmon eggs, and white virgin-beaded foam. When combined with non-toxic glue, they transform into a versatile, fast-drying, and ultimately hard material that he intended for both utilitarian as well as artistic uses—his detailed step-by-step instructions accompanied do-it-yourself kits complete with everything needed to make PeaRoeFoam.

Rhoades debuted his PeaRoeFoam project at David Zwirner in 2002 (then located on Greene Street in SoHo) in the first of a trilogy of exhibitions that also brought it to Vienna and Liverpool the same year. Following the original “PeaRoeFormance” at the gallery, the artist moved the equipment to the Museum Moderner Kunst Stiftung Ludwig Wien (MUMOK) in Vienna, where he added a makeshift karaoke studio, and then to the Liverpool Biennial, where he continued the production inside a giant, inflatable pool the shape and color of a human liver. PeaRoeFoam continued to be appropriated for subsequent works, but the majority of the leftovers and objects from all three “PeaRoeFormances” found a new place in Rhoades’s studio. Arranged on shelves covering the full length of a large wall, they remained on the location until after the artist’s death. The entirety of the installation, never previously shown, was exhibited as part of the comprehensive presentation of the PeaRoeFoam project at David Zwirner in New York in 2014.

This seminal publication is the first to properly examine and situate PeaRoeFoam within Rhoades’s career and to acknowledge its importance within the overall framework of his practice. The 2014 exhibition at David Zwirner presented many of the individual components for the first time since their original installations, and this book discusses and reproduces those initial presentations in depth. Also included is an abundance of archival documents and photographs, installation views of all 2002 shows, as well as the artist’s diagrams and drawings. The publication also features a personal and revealing essay by David Zwirner, who began showing Rhoades’s work in the early 1990s, new scholarship by Julien Bismuth, and selected interviews from the Jason Rhoades Oral History project, conceived by Dylan Kenny and Lucas Zwirner, who have interviewed over fifty artists, curators, friends, collaborators, art historians, and others who intimately knew the artist—including curator and art historian Linda Norden.

Jason Rhoades: PeaRoeFoam

Antoon Melissen

In the work of Dutch artist Jan Schoonhoven, wrote 

 art critic Roberta Smith in 1999, “clarity and purity reign.” Born in Delft in 1914 and regarded as one of the most important Dutch artists of the twentieth century despite being relatively unknown in the United States, Schoonhoven was an active and influential player in the course of major European postwar developments in art, particularly related to monochromatic, serialized abstraction. His early abstract drawings, influenced by the work of Paul Klee, evolved into spare, delicate, and often grid-based sculptural wall reliefs. In the 1960s, Schoonhoven co-founded the avant-garde Nul-groep (Nul Group), a Dutch branch of the international ZERO movement that sought to reduce art to the zero degree by simplifying compositions and using everyday materials.

This catalogue was published in conjunction with the first significant presentation of Schoonhoven’s work in New York, if not the United States, in over a decade, held at David Zwirner in New York in 2015. Serving as an important contribution to English-language literature on the artist, this extensive exhibition catalogue is anchored by richly detailed plates of his sculptural reliefs and works on paper made primarily between the mid-1950s and early 1970s. During that period, Schoonhoven focused on the production of white, monochrome reliefs and black ink drawings, in which the integration of meticulous control and automatic gesture exemplify the artist’s ability to balance rigorous order with the expressiveness of the hand.

Featuring new scholarship by Antoon Melissen, one of the foremost authorities on Schoonhoven’s work, as well as archival photographs and an illustrated chronology, this publication offers an invaluable introduction to the work of this pioneering champion of the proto-Minimalist tendencies that sprang up in Europe and the United States in the early 1960s.

Jan Schoonhoven

Carter Ratcliff

Throughout his career, James Bishop has engaged with European and American traditions of postwar abstraction while developing a subtle, poetic, and highly unique visual language of his own. Alternating between—and at times interweaving—painting and drawing, Bishop’s works explore the ambiguities and paradoxes of material opacity and transparency, flatness and spatiality, as well as linear tectonics and loosely composed forms. Privileging the nuanced and expressive qualities of color and scale, Bishop’s luminous works have been described by American poet and art critic John Ashbery as “half architecture, half air.”

In the early 1960s, Bishop developed the vocabulary of color and form that would characterize his paintings on canvas for over twenty years: a reduced but rich palette, the employment of subtle architectonic abstractions, and a consistently large, square format that reinforces the viewer’s sense of scale and space. By overlapping thin but radiant veils of monochrome color, Bishop creates discrete geometric frameworks that suggest doors, windows, cubes, or what the artist describes as an uncertain scaffolding.

Published to coincide with James Bishop’s first solo presentation in New York since 1987, which was held at David Zwirner in New York in 2014, this volume includes works spanning the artist’s prolific career. The catalogue presents numerous large paintings on canvas from the 1960s to the early 1980s, as well as small-scale paintings on paper, to which Bishop turned exclusively in 1986 and which he continues to produce today. In addition, the book includes details and installation views, providing further context for understanding the artist’s work.

James Bishop

Yve-Alain Bois

Benjamin H. D. Buchloh

Diedrich Diederichsen

Hal Foster

Isa Genzken

Isabelle Graw

Lisa Lee

Pamela Lee

Birgit Pelzer

Juliane Rebentisch

Josef Strau

Wolfgang Tillmans

Lawrence Weiner

Texts by Yve-Alain Bois, Benjamin H. D. Buchloh, Diedrich Diederichsen, Hal Foster, Isa Genzken, Isabelle Graw, Lisa Lee, Pamela M. Lee, Birgit Pelzer, Juliane Rebentisch, Josef Strau, Wolfgang Tillmans, and Lawrence Weiner

Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b. 1948) has produced a body of work that is remarkable for its formal and material inventiveness. In her sculptural practice, Genzken has developed an expanded material repertoire that includes plaster, concrete, epoxy resin, and mass-produced objects that range from action figures to discarded pizza boxes. Her heterogeneous assemblages, a 

 critic observes, are “brash, improvisational, full of searing color and attitude.” Genzken, the recent subject of a major retrospective at MoMA, offers a highly original interpretation of modernist, avant-garde, and postminimalist practices even as she engages pressing sociopolitics and economic issues of the present.

These illustrated essays address the full span of Genzken’s work, from the elegant floor sculptures with which she began her career to the assemblages, bursting with color and bristling with bric-a-brac, that she has produced since the beginning of the millennium. The texts, by writers including Yve-Alain Bois, Benjamin H. D. Buchloh, and the artist herself, consider her formation in the West German milieu; her critique of conventions of architecture, reconstruction, and memorialization; her sympathy with mass culture; and her ongoing interrogation of public and private spheres. Two texts appear in English for the first time, including a quasi-autobiographical screenplay written by Genzken in 1993.

The first major catalogue published in English on the work of Korean group Dansaekhwa, who variously experimented with pushing paint, soaking canvases, dragging pencils, ripping paper, and other material manipulations. The exhibition was held at Blum & Poe, Los Angeles in 2014 and included artists Chung Sang-hwa, Ha Chonghyun, Kwon Young-woo, Lee Ufan, Park Seobo, and Yun Hyong-keun. The catalogue features an essay by Joan Kee, translations of key articles about the group, and beautiful new illustrations.

From All Sides: Tansaekhwa On Abstraction

Diana Thater in Chernobyl. Photo by Volodymyr Palylyk, 2010

Giuliana Bruno

Michael Govan

Christine Y. Kim

Lisa Gabrielle Mark

Patti Podesta

Jason E. Smith

Texts by Giuliana Bruno, Lynne Cooke, Michael Govan, Christine Y. Kim, Lisa Gabrielle Mark, Patti Podesta, and Jason E. Smith

This book offers a mid-career retrospective of the work of Diana Thater, one of the most important and innovative artists working today.

For more than two decades, Diana Thater has been creating ground-breaking installations that build upon the basic visual language of film and video by integrating architecture, applied color, and artificial and natural light. Depicting a range of natural phenomena, her work is largely organized around an exploration of the subjectivity of animals. This lavishly illustrated overview shows how Thater has radically reenvisioned both the ways in which film and video are deployed in site-related installations and the relationship between subject and object. Luminous images of eighteen projects such as 

 are accompanied by quotes and fictional writings that have long served as Thater’s touchstones. Also included are an interview with the artist and essays on a wide range of topics that Thater addresses in her work—from the history and politics of the Chernobyl disaster to beauty and Baroque architecture. This publication also gives readers exclusive access to a moving image supplement, featuring a film conceived and created by Thater in collaboration with production designer Patti Podesta, as well as an illustrated checklist with short video clips.

Diana Thater: The Sympathetic Imagination

Mark Godfrey

Roxana Marcoci

Text by Mark Godfrey, Roxana Marcoci, Christopher Williams, and Matthew S. Witkovsky

Representing Christopher Williams’s first publication with a major American museum, this illuminating and unusual volume is equal parts artist’s book and exhibition catalogue. Over the course of his thirty-year career, Williams (b. 1956) has crafted photographs that engage—often through uncanny mimicry—the conventions of photojournalism, picture archives, and commercial imagery, as well as their sociopolitical contexts and implications. The book includes a trio of essays by curators Mark Godfrey, Roxana Marcoci, and Matthew S. Witkovsky, which explore Williams’s engagement with his artistic peers and predecessors, with cinema (particularly the film-essay), and with the methods and modes of display and publicity in the art world, in addition to a transcript of a talk Williams delivered on the work of John Chamberlain. These more conventional contributions are “interrupted” by additional historical and contemporary textual and visual materials that were selected by the artist himself and are occasionally presented in facsimile form. An exhibition history, bibliography, and illustrated list of works round out the publication.

Christopher Williams: The Production Line of Happiness

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

Katherine Brinson

Massimiliano Gioni

Karen Marta

Edited by Karen Marta and Massimiliano Gioni. Text by Katherine Brinson.

Since the mid-1990s, Chris Ofili's painstakingly crafted paintings and sculptures have dazzled—and often distressed—viewers with a fusion of opposing forces: sacred meets profane, formal bows to demotic, and exalted bleeds into vulgar. Paintings of rare beauty are propped on elephant dung; deities squat to defecate; and lovers embrace and yet are forcibly bound.

 series is authored by Katherine Brinson, Curator of Contemporary Art at the Solomon R. Guggenheim Museum in New York, where she curated the museum's 2013 Christopher Wool retrospective and also organizes the Hugo Boss Prize, a biennial award honoring significant achievement in contemporary art.

Chris Ofili: 2000 Words

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

Natalia Naish

Alexandra Tommasini

Text by Natalia Naish and Alexandra Tommasini. Interview by Robert Kudielka

Tracking a transitional period of Bridget Riley’s career, the works on paper in this volume move from the vertical stripe to increasingly complex diagonal compositions. During the mid-1980s, Riley introduced a new pictorial device – the rhomboid – to the then predominantly vertical stripes, developing her exploration of interplaying tones of green, yellow and orange. Riley constructs new visual relationships between divergent colors and forms within these works, creating what the artist terms a ‘harmony of contrasts’ that animates the entire visual field. Illustrated in full color, the works are accompanied by a historic interview with the artist by Robert Kudielka and a text by Natalia Naish and Alexandra Tommasini, which situate these studies with major paintings during this period.

Bridget Riley: Studies 1984-95

Detail view of Alice Neel's 1967 painting titled Richard

Jeremy Lewison

Claire Messud

Texts by Jeremy Lewison and Claire Messud

Drawing was a fundamental, stand-alone component of Alice Neel’s practice, persistently pursued alongside painting, for which she is primarily known. As a medium, it enabled her to capture the immediacy of her visual experience—whether in front of her sitters or on the city streets—while also affording her a greater sense of experimentation and informality. Neel chose the subjects for both her paintings and drawings from her family, friends, and a broad variety of fellow New Yorkers: writers, poets, artists, students, textile salesmen, cabaret singers, and homeless bohemians. Through her penetrative, forthright, and at times humorous touch, her work subtly engaged with political and social issues, including gender, racial inequality, and labor struggles. Not initially intended for public view, her drawings reveal a more private and intimate nature than her paintings and as such reflect her deep sensitivity to these subjects. Yet they are far from sentimental and she readily stripped her sitters of their masks, foregrounding rather the incongruous, the awkward, and, at times, the comical.

Alice Neel: Drawings and Watercolors 1927-1978 

presents an illuminating overview of the variety of themes and styles employed by the artist across five decades. Published to coincide with an 

 at David Zwirner in New York, the book contains over sixty color plates organized thematically and includes works selected from throughout her career. In addition, it features essays by the independent curator and writer Jeremy Lewison and the award-winning novelist Claire Messud, as well as a selected chronological biography and illustrated list of works.

Although Neel’s influences and style changed from decade to decade, her profound commitment to her subjects and to her art remained consistent over the course of her career, and although the appearance of many of her sitters changed over the years, there is a timeless quality to the works. As Claire Messud notes in her reflections on the artist in the exhibition catalogue, “The complex emotions Neel evokes in her art are nothing less than the contradictions of life itself.”

Alice Neel: Drawings and Watercolors 1927-1978

A painting by On Kawara, titled MAY 11, 1967, dated 1967.

On Kawara, One Million Years (Past), 1970-1971, Page 2001

Text by Jeffrey Weiss, Daniel Buren, Whitney Davis, Maria Gough, Ben Highmore, Tom McCarthy, Susan Stewart, and Anne Wheeler

Because of his recourse to language, photography, and systems of information, On Kawara is often described as a key figure in the history of Conceptual art. Yet his work stands apart in its devotion to painting and its existential reach. 

 is published in conjunction with a major 

 of Kawara’s post-1964 work at the Solomon R. Guggenheim Museum, New York. Like the exhibition itself, the structure of the book was devised in close collaboration with the late artist. The exhibition catalogue contains essays on Kawara’s work by leading scholars and critics in various fields, including art history, literary studies, and cultural anthropology. It also includes substantial, authoritative descriptions of every category of his production—the first time such comprehensive information has appeared in print. Richly illustrated,

) that comprised the artist’s practice beginning in the mid-1960s. Among other groups of works, the book includes images of the 97 

(accompanied by their newspaper-lined storage boxes) that Kawara produced during a three-month run of daily painting in 1970. The catalogue also contains reproductions of paintings and drawings produced in Paris and New York in the years that precede the works for which Kawara is best known, as well as rare images of materials related to his working process. The volume is published in four differently colored covers.

On Kawara—Silence

Kara Carmack

Bob Nickas

Foreword by David Zwirner. Texts by Diedrich Diederichsen and Bob Nickas. Illustrated chronology by Kara Carmack

In the words of Peter Schjeldahl, writing in 

 at David Zwirner in New York, “the show’s cast of artists amounts to a retrospective shopping list of what would matter and endure in art of the era.” With an eye to canonizing that moment, this seminal publication examines the latter half of the 1980s through the lens of international art scenes that were based in Cologne—arguably the European center of the contemporary art world at that time—and New York.

While a number of established Cologne-based gallerists, including Karsten Greve, Paul Maenz, Rolf Ricke, Michael Werner, and Rudolf Zwirner, had already begun shaping the European reception of American art in the previous decade, the 1980s marked a period during which art being produced in and around Cologne gained international attention. A burgeoning gallery scene supported the emerging work of artists based in the region, with gallerists such as Gisela Capitain, Rafael Jablonka, Max Hetzler, and Monika Spru¨th showing artists such as Walter Dahn, Martin Kippenberger, Albert Oehlen, Rosemarie Trockel, and others. The works of these German artists were exhibited along with the latest contemporary art from the US by artists like Robert Gober, Jeff Koons, Richard Prince, Cindy Sherman, and Christopher Wool. Conversely, the works of German artists were presented in New York, with breakout exhibitions at galleries such as Barbara Gladstone, Metro Pictures, Luhring, Augustine & Hodes, and other significant venues. Important museum exhibitions that explored work being produced and exhibited on both sides of the Atlantic also set the tone for this ongoing dialogue, among them 

A Distanced View: One Aspect of Recent Art from Belgium, France, Germany, and Holland

Big, bold, and vibrant, this Pentagram-designed publication revives the conversation, reproducing in full color over one hundred immensely varied artworks by the twenty-two international artists included in this massive exhibition—one of the largest in David Zwirner’s history. Beyond its stunning visual components, the book features crucial new scholarship by Diedrich Diederichsen and Bob Nickas, and an illustrated chronology of the decade by Kara Carmack. The book also includes an arsenal of compelling archival material, from documentary photographs from the period to reproductions of Cologne’s culture magazine Spex. Taken as a whole, this ambitious exhibition catalogue encapsulates the energy, heart, and “dissonance of styles”—in the words of Schjeldahl—embodied by this fascinating and fecund moment in global art history.

Artists featured in the book include Werner Büttner, George Condo, Walter Dahn, Jiri Georg Dokoupil, Peter Fischli/David Weiss, Günther Förg, Robert Gober, Georg Herold, Jenny Holzer, Mike Kelley, Martin Kippenberger, Jeff Koons, Barbara Kruger, Sherrie Levine, Albert Oehlen, Raymond Pettibon, Richard Prince, Cindy Sherman, Rosemarie Trockel, Franz West, and Christopher Wool.

Als Gott den Rock erschuf muß er heil gewesen sein (Rockmusik III) (When God Created Rock, He Must Have Been Horny [Rock Music III])

No Problem: Cologne/New York 1984–1989

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

Portrait of Michaël Borremans. Photo by Pascal Gamarte

, on view at Centro de Arte Contemporáneo de Málaga in 2015.

Michaël Borremans: Fixture

Mimi Thompson

Having begun his studio practice as a painter and draftsman, in 1985 Al Taylor (1948-1999) devised a uniquely innovative approach to process and materials that seamlessly enveloped drawings and three-dimensional objects as he created compositions that were grounded in the formal concerns of painting. Taylor ultimately sought to expand the possibilities of vision in his search for new ways of experiencing and imagining space, and his multi-layered investigations of perception across variant dimensions provide the viewer with an insight into the artist\s idiosyncratic thinking, his methodology, and his playful sense of humor.

Published on the occasion of the artist’s 2015 exhibition at the gallery, this catalogue presents a comprehensive examination of Taylor’s 

, which encompass a large grouping of interconnected series that were created between 1989 and 1992; as well as works from Taylor’s later series 

 (sic) that the artist made in Denmark for his 1997 solo exhibition at Galleri Tommy Lund. The objects and drawings that comprise these series demonstrate Taylor’s relentless curiosity about the process of seeing—that is, how we see and what we see, which he systematically explored by applying a multitude of constantly shifting points of view. The artist’s investigations combined metaphor with seemingly incongruous materials and concepts in order to find new relationships between subject matter, space, and meaning. This fully illustrated publication will feature new scholarship on Taylor’s work by Mimi Thompson.

Al Taylor: Pet Stains, Puddles, and Full Gospel Neckless

 as “the most original, controversial, and expensive American artist of the past three and a half decades,” Jeff Koons has come to reign as a master of the market, a wry puppeteer with a “formidable aesthetic intelligence.” His elaborate, exquisitely produced sculptures draw from a contemporary lexicon of consumerism—often featuring large-scale reproductions of toys, household items, or luxury goods—while simultaneously holding up a mirror to the very culture from which they are extracted.

These references to popular media are evidenced not merely in his choice of subject matter but also in his visual techniques: his sculptures frequently comprise smooth, mirrored surfaces, and his paintings employ bright and saturated colors.



—the first catalogue on the artist’s work to be published by David Zwirner—was produced on the occasion of the major 2013 exhibition at the gallery in New York, which marked the world debut of his 

 series, a brand new body of work that occupies an important place in the trajectory of his practice. Conceptually derived from the mirrored ornaments encountered on many suburban lawns, including those of Koons’s childhood hometown in rural Pennsylvania, every sculpture is anchored by a blue “gazing ball” of hand-blown glass. These are situated atop large, white-plaster sculptures that have been alternately modeled after iconic works from the Greco-Roman era, including the Farnese Hercules and the Esquiline Venus, or after such quotidian objects from the contemporary residential landscape as a rustic mailbox, a birdbath, and an inflatable garden snowman.

Created in close collaboration with Koons, this elegant publication echoes the classic design of a 1970 Picasso catalogue that the artist admires. Inside, vivid color plates of the sculptures in situ capture the stark contrast between the pristine whiteness of the plaster and the highly reflective spheres. In their perfect contours and smooth, glistening surfaces, the gazing balls implicate audience as well as context—mirroring both and offering playful yet powerful meditations on the dialogue between gaze and reflection. “While all of the sculptures are grounded in their own distinct narratives, derived from Art History and suburban towns,” writes Francesco Bonami in his catalogue essay, “the seemingly fragile and delicate gazing ball establishes that sense of uncertain equilibrium that exists between history and fantasy, magic and materiality, mass culture and exclusive beauty.”

Jeff Koons: Gazing Ball

Edited by Jeffrey Grove. Text by Michael Amy, Hans Christ, David Coggins, Martin Germann, Jeffrey Grove, Jan Hoet, Jeffrey Kastner, David Lynch, Charlotte Mullins et al.

Since the late 1990s, when he first began to produce drawings and paintings, Michaël Borremans has created an extraordinarily mature body of work that has captured international attention. The disparate spaces he imagines in his paintings, drawings, sculptures, and films are unified by an uncanny sense of dislocation and an often unsettling beauty. Rendered in complex palettes and exquisite techniques, Borremans’s works in all media embrace a rich legacy of artistic progenitors, but remain firmly anchored in the present. Presenting over 100 works created by the artist over a 14-year period in all media, this publication includes many works not previously reproduced in books or catalogues, offering the most complete overview of Borremans’s oeuvre to date. Contributions include a concise and incisive overview of Borremans’s practice; a revealing, in-depth interview between the main author of the book, Jeffrey Grove, and the artist, addressing process, influence and philosophical and critical issues; as well as more than 50 individual entries and mini-essays on individual works in the artist’s oeuvre by notable writers, curators, filmmakers, and musicians. Described by the artist as “the mother of all Borremans books,” 

 is published on the occasion of a major mid-career retrospective.

Michaël Borremans: As Sweet As it Gets

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

 brings together Kusama’s vivid imagery and haunting words with photos of the artist at work and at various stages in her life. The pieces are mostly from recent years (2000-2012), although there are some that go back as far as the 1950s. Here are Kusama’s large-scale canvases, environmental sculptures, multi-media installations, and numerous self-portraits. Here, too, are photos of the artist at ten years old, and as a young woman in Tokyo, and then New York, often wearing outrageous clothes of her own design. And we see Yayoi Kusama in recent years, working in her studio in Tokyo – minus the garish make-up and red wig. The book is a chronicle of her creative endeavors and of her life, offering a glimpse into the fevered imagination of this very complicated and fascinating woman.

Yayoi Kusama: Hi Konnichiwa

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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.