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

Described by Deborah Solomon in a New York Times profile as “one of contemporary art’s most compelling painters,” Marlene Dumas has continuously explored the complex range of human emotions, often probing questions of gender, race, sexuality, and economic inequality through her dramatic and at times haunting figural compositions. Originally published in 2010 on the occasion of 

, Dumas’s first solo presentation at David Zwirner in New York, this much sought-after exhibition catalogue—which sold out shortly after publication—has been reprinted to coincide with the artist’s 2014–2015 European retrospective exhibition 

, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel.

Throughout her career, the internationally renowned artist has continually created lyrically charged compositions that eulogize the frailties of the human body, probing issues of love and melancholy. At times her subjects are more topical, merging socio-political themes with personal experience and art-historical antecedents to reflect unique perspectives on the most salient and controversial issues facing contemporary society. The large-scale works included in 

 are primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting. 

, the painting that began the series, at first appears to present a scene at the Western Wall (also known as the Wailing Wall), an important site of religious pilgrimage located in Jerusalem. However, this work is based upon a photograph from a newspaper that portrayed a group of Orthodox Jews on their way to pray at Rachel’s Tomb in Bethlehem. Through her delicate treatment of every scene, Dumas destabilizes preconceived notions about what, in fact, is being pictured—engaging the often ambiguous nature of ideas like truth or justice. “In a sense they are my first landscape paintings,” Dumas further notes in the catalogue, “or should I say ‘territory paintings.’ That is why they are so big.” The somber color plates reproduced in the publication are given context by Dumas’s own musings, a text framed as a letter to David Zwirner in which she tries to tell him “about the ‘why’ ” of this powerful series.

Marlene Dumas: Against the Wall

installation_view_john_mccracken_works_from_1963-2011_david_zwirner_new_york_2013_view_9

Portrait of John McCracken. Photo by Joe Goode

Robin Clark

Anne Reeve

Text by Robin Clark. Interview with the artist by Anne Reeve

My works are minimal and reduced, but also maximal. I try to make them concise, clear statements in three-dimensional form, and also to take them to a breathtaking level of beauty.

John McCracken occupies a singular position within the recent history of American art, as his work melds the restrained formal qualities of Minimalist sculpture with a distinctly West Coast sensibility expressed through color, form, and finish. He developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial materials, including plywood, sprayed lacquer and pigmented resin, creating the highly reflective, smooth surfaces that he was to become known for.

Published on the occasion of the comprehensive presentation of McCracken\s work at David Zwirner, New York in 2013, this catalogue charts the evolution of the artist\s diverse oeuvre, encompassing both well-known and lesser-seen examples of his production from the early 1960s up through his death in 2011 with a range of sculptures, paintings, and sketches. Featuring new scholarship by art historian Robin Clark, it includes reproductions of fascinating archival and documentary material that was discovered during the curatorial process, from the artist’s sketches to gallery invitation cards, early catalogue covers, historic photographs, as well as installation views of the exhibition.

John McCracken: Works from 1963-2011

Jane McFadden

Nigel Prince

Anthony Spira

Jan Tumlir

Miguel von Hafe Pérez

James Welling

With contributions from Jan Tumlir, Jane McFadden, Anthony Spira, James Welling, Nigel Prince, and Miguel von Hafe Pérez

Bringing together important experimental works and ephemera, this volume documents a watershed moment in James Welling’s photographic career.

A seminal figure in the “Pictures Generation”—a group of artists working in 1980s New York—James Welling is best known for his pioneering use of photography and for engaging questions about art and the nature of representation. This book focuses on a particularly fecund period in Welling’s life, charting the works, influences, and shifting ideas that he has been pursuing ever since. Chronologically arranged, it features works from the 1970s and 1980s interspersed with never-before-seen watercolors, collages, notes, production stills, music, and other ephemera that provide insights into the working process of one of America’s most innovative and significant photographers.

James Welling: The Mind on Fire

Matthew S. Witkovsky

For more than thirty-five years, James Welling has explored the material and conceptual possibilities of photography. 

—the first mature body of work by this important contemporary artist—set the framework for his subsequent investigations of abstraction and his fascination with nineteenth- and twentieth-century New England.

In July 1977, Welling began photographing a two-volume travel diary kept by his great-grandmother Elizabeth C. Dixon, as well as landscapes in southern Connecticut. In one closely cropped image, lines of tight cursive share the page with a single ivy leaf preserved in the diary. In another snowy image, a stand of leafless trees occludes the gleaming Long Island sound. In subject and form, Welling emulated the great American modernists Alfred Stieglitz, Paul Strand, and Walker Evans—a bold move for an artist associated with radical postmodernism. At the same time, Welling’s close-ups of handwriting push to the fore the postmodernist themes of copying and reproduction.

A beautiful and moving meditation on family, history, memory, and place, 

reintroduced history and private emotion as subjects in high art, while also helping to usher in the centrality of photography and theoretical questions about originality that mark the epochal Pictures Generation. The book is published to accompany the first-ever complete 

 of this series of pivotal photographs, now owned by the Art Institute of Chicago.

James Welling: Diary/Landscape

Dieter Schwarz

From the beginning of his career, Fred Sandback (1943–2003) used drawing to formulate his ideas of sculptural volume. In pictures of existing rooms, Sandback explored the possibilities of spaces and planes by drawing his famous horizontal, vertical, and diagonal lines in colored pencil. In the 1980s, he expanded his drawing repertoire to include acrylic, the pochoir technique, and pastel. In these late drawings–considered to be more pictorial than his pencil sketches–Sandback elaborated on the experience of space, mass, and volume in ways impossible in a coherent space: many of these sculptural ideas are absolutely boundless. Only a specific section of the whole is intimated in the drawing, for which Sandback invented unusual techniques: actual incisions instead of drawn lines, for instance, or painterly traces on transparent film. Superbly produced and edited, 

 assembles works from a thirty-year span, supplemented by sculptural works.

Fred Sandback: Drawings

Amanda Cruz

Matthew Drutt

Introduction by Amada Cruz. Text by Matthew Drutt

In celebration of its 15th anniversary in 2010, Artpace in San Antonio, Texas, mounted an ambitious state-wide exhibition of 336 seminal billboards created by Cuban-born artist Felix Gonzalez-Torres (1957–1996). Developed with special permission from the artist's estate, this presentation was the first-ever comprehensive survey of Gonzalez-Torres's billboard works in the US. Situated deliberately in the public's path in four cities (Austin, Houston, Dallas, and San Antonio), these artworks gracefully interrupted daily routines with poignant reflections on life, love, and humanity. The transcendent quality of Gonzalez-Torres's work was magnified in the Texas landscape, and the project garnered international attention for its unprecedented commemoration of this remarkable body of work. This book covers all the billboard pieces and serves as a mini-retrospective of this critical part of Gonzales-Torres's career.

Felix Gonzalez-Torres: Billboards

Over the course of his thirty-five year career, Christopher Williams has produced photographs that engage the conventions of photojournalism, picture archives, and commercial imagery—often through a wry combination of parody and homage—and explore their sociopolitical contexts and implications. Using the process of reproduction as a point of entry, the artist questions the communication mechanisms and aesthetic conventions that influence our understanding of reality.

 is the second volume in an ambitious series of books developed by Williams in conjunction with his first major museum survey, 

, a critically acclaimed exhibition co-organized for 2014-2015 by The Art Institute of Chicago with The Museum of Modern Art, New York and Whitechapel Gallery, London

Following the first publication, an exhibition catalogue that relied more heavily on text than image, 

was conceived to exist as a stand-alone visual object and extend the artist’s conceptual and aesthetic concerns into book form. A perfect companion to the first publication, it reproduces a carefully curated selection of Williams’s painstakingly constructed photographs and features striking graphic design in the near-complete absence of language, with no essay, captions, or even a title page. Through clever manipulations of cropping, ordering, and pagination, 

offers readers an original aesthetic experience and comprehensive insight into the practice of one of today’s most thought-provoking artists, while—through pure visual splendor—pushing the boundaries of the artist’s book into new realms. As with all publications in the series, it has been produced in three colors—yellow, red, and green—each of which features subtle differences in layout.

Christopher Williams: Printed in Germany

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

Massimiliano Gioni

Glenn Ligon

Minna Moore Ede

Alicia Ritson

Matthew Ryder

Robert Storr

Lynette Yiadom-Boakye

Texts by Massimiliano Gioni, Glenn Ligon, Minna Moore Ede, Alicia Ritson, Matthew Ryder, Robert Storr, and Lynette Yiadom-Boakye

A major survey including new and celebrated works by Turner Prize–winning artist Chris Ofili. Set to accompany the first major museum show in the United States of contemporary British artist Chris Ofili, this richly illustrated volume surveys two decades of artworks that meld figuration, abstraction, and decoration to yield hybrid juxtapositions of high and low culture. Best known for intricately constructed works featuring beadlike dots of paint, elephant dung, and images culled from popular media, Ofili’s unique lexicon combines African culture, Western art history, and hip-hop music, spanning a wide variety of sources which include the Bible, Zimbabwean cave paintings, Blaxploitation films, and William Blake’s poems. Animated by exotic characters, outlandish landscapes, and folkloric myths, Ofili’s most recent work resonates with references to the paintings of Henri Matisse and Paul Gauguin. This compelling new book offers a fresh perspective on the artist’s vital practice, which both celebrates and calls into question the power of images and their ability to address fundamental questions of representation.

Chris Ofili: Night and Day

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

Richard Shiff

Robert Kudielka

Paul Moorhouse

Texts by Robert Kudielka, Paul Moorhouse, and Richard Shiff. Interview by Robert Kudielka.

Published on the occasion of Bridget Riley’s major exhibition at David Zwirner in London in the summer of 2014, this fully illustrated catalogue offers intimate explorations of paintings and works on paper produced by the legendary British artist over the past fifty years, focusing specifically on her recurrent use of the stripe motif. Riley has devoted her practice to actively engaging viewers through elementary shapes such as lines, circles, curves, and squares, creating visual experiences that at times trigger optical sensations of vibration and movement. The London show, her most extensive presentation in the city since her 2003 retrospective at Tate Britain, explored the stunning visual variety she has managed to achieve working exclusively with stripes, manipulating the surfaces of her vibrant canvases through subtle changes in hue, weight, rhythm, and density. As noted by Paul Moorhouse, “Throughout her development, Riley has drawn confirmation from Euge`ne Delacroix’s observation that ‘the first merit of a painting is to be a feast for the eyes.’ [Her] most recent stripe paintings are a striking reaffirmation of that principle, exciting and entrancing the eye in equal measure.”

Created in close collaboration with the artist, the publication’s beautifully produced color plates offer a selection of the iconic works from the exhibition. These include the artist’s first stripe works in color from the 1960s, a series of vertical compositions from the 1980s that demonstrate her so-called “Egyptian” palette—a “narrow chromatic range that recalled natural phenomena”—and an array of her modestly scaled studies, executed with gouache on graph paper and rarely before seen.

A range of texts about Riley’s original and enduring practice grounds and contextualizes the images, including new scholarship by art historian Richard Shiff, texts on both the artist’s wall paintings and newest body of work by Paul Moorhouse, 20th Century Curator at the National Portrait Gallery in London, and a 1978 interview with Robert Kudielka, her longtime confidant and foremost critic. Additionally, the book features little-seen archival imagery of Riley at work over the years; documentation of her recent commissions for St. Mary’s Hospital in West London, taken especially for this publication; and installation views of the exhibition itself, installed throughout the three floors of the gallery’s eighteenth-century Georgian townhouse located in the heart of Mayfair.

Bridget Riley: The Stripe Paintings 1961-2014

Klaus Kertess

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 multilayered 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.

This publication focuses on two bodies of work by Taylor, 

. Although distinctly individual, both of these series examine Taylor’s lifelong explorations of the circle. In his 

 series from 1991–1992, the artist studied the inside and outside of circular forms and investigated the multi-dimensional possibilities that could be revealed by conceptually and physically moving “around” them to expose the mutable perception of their intrinsic shape. Using hula hoops, garden hoses, plastic-coated cables, and recycled bottle cap rings, he created three-dimensional spirals and coils, interlocking loops, and dissected circles that were mounted on the wall, left freestanding, or suspended by wires from the ceiling to activate changing perspectives. In this group of works, the artist renders conceptual ideas about the dimensionality of linear curves, the role of gravity and chance on motion, and the passage of time. In his 1993 

 series, Taylor expanded his circle “research” by investigating the play of light that would theoretically be reflected off of the exterior—or projected out of the interior of cylinders. In a group of wall-mounted constructions created out of tin cans, wood, hot-rolled steel bands, and asymmetrical lengths of wire, the artist characteristically “draws” in real space with objects that appear to vacillate between three and two dimensions. In his studies of tin cans, Taylor explores the formal concerns of composition, mathematical proportionality, linear movement, and the spatial possibilities of light. Consistent with the dual nature of his practice, the artist’s facility as a draftsman is evidenced in an array of works on paper from each series that run the gamut from still lifes to purely abstract drawings.

Al Taylor: Pass the Peas and Can Studys

Sigmar Polke, Magnetische Landschaft (Magnetic Landscape), 1982

Benjamin H. D. Buchloh

Paul Chan

Christophe Cherix

Tacita Dean

Barbara Engelbach

Mark Godfrey

Stefan Gronert

Kathy Halbreich

Rachel Jans

Erhard Klein

Jutta Koether

Christine Mehring

Matthias Mühling

Marcelle Polednik

Christian Rattemeyer

Kathrin Rottmann

Magnus Schaefer

Lanka Tatersall

Texts by Paul Chan, Christophe Cherix, Tacita Dean, Barbara Engelbach, Mark Godfrey, Stefan Gronert, Kathy Halbreich, Rachel Jans, John Kelsey, Jutta Koether, Christine Mehring, Matthias Mühling, Marcelle Polednik, Christian Rattemeyer, Kathrin Rottmann, Magnus Schaefer, and Lanka Tattersall. Bibliography by Erhard Klein. Interview with the artist by Benjamin H. D. Buchloh

Working across an unusually broad range of media, including painting, photography, film, drawing, and sculpture, Sigmar Polke is widely regarded as one of the most influential and experimental artists of the post-war generation. His irreverent wit and promiscuous intelligence, coupled with his exceptional grasp of the properties of his materials, provided the foundation for his punishing critiques of the conventions of art history and social behavior. Experimenting wildly with materials and tools as varied as meteor dust and the xerox machine, Polke made work of both an intimate and monumental scale, drawn from sources as diverse as newspaper headlines and Dürer prints. Polke avoided any one signature style, a fluid method best defined by the word “alibi,” which means “in or at another place.” This also is a reminder of the deflection of responsibility which shaped German behavior during the Nazi period, compelling Polke’s generation to reinvent the role of the artist. Published in conjunction with 

, the first exhibition to encompass the artist’s work across all media, this richly illustrated publication provides an overview of his cross-disciplinary innovations and career. Essays by Kathy Halbreich, Associate Director of The Museum of Modern Art; Mark Godfrey, Curator of International Art, Tate Modern; and a range of scholars and artists examine the full range of Polke’s exceptionally inventive oeuvre and place his enormous skepticism of all social, political and artistic conventions against German history.

Sigmar Polke: Alibis 1963–2010

Stig Claesson

Paolo Colombo

Marcel Dzama

Anders Krüger

Texts by Paolo Colombo and Anders Krüger. Interview with Nordström by Marcel Dzama. Poem by Stig Claesson

The Swedish artist couple Mamma Andersson and Jockum Nordström have been at the forefront of contemporary figurative art since the late 1980s. Updating Vuillard for a post-Hitchcock age, Andersson paints beguilingly eerie interiors and landscapes. Nordström’s detailed collages, watercolors, and drawings occupy a more folkloric realm peopled by historical and contemporary characters enacting sexual and social roles across broad narrative panoramas.

Originally published on the occasion of the 2010 exhibition at David Zwirner in New York, 

marked the first time Andersson and Nordström presented their work in concurrent solo shows. The book showcases their work from the late 1980s to 2010 in over two hundred full-color plates, as well as numerous reproductions of family snapshots and source material. Also included are texts by Paolo Colombo and Anders Krüger, a poem by Stig Claesson, and an interview with Nordström by Marcel Dzama. As Colombo notes in his accompanying essay, “The miracle is that Jockum and Mamma spent more than half of their life together, and that over the years their complicity has guided them into the artists they are, each the complement and the best sounding board for the other.” The publication was reissued to coincide with Nordström’s 2014 exhibition, 

, at David Zwirner in London, and Andersson’s 2015 presentation, 

Mamma Andersson & Jockum Nordström: Who is sleeping on my pillow

Martha Buskirk

Chris Kraus

Linda Norden

Ingrid Schaffner

Paul Schimmel

Texts by Ingrid Schaffner, Martha Buskirk, Chris Kraus, Linda Norden, and Paul Schimmel

This volume examines the remarkable legacy of Jason Rhoades’s complex body of work. The Los Angeles–based sculptor Jason Rhoades was widely celebrated for sprawling, ambitious, and daring installations, editions, and events prior to his untimely death in 2006. Although he was far better known in Europe than America, many of Rhoades’s peers considered him to be one of the most important artists of his generation. In his work, cultural touchstones ranged from high to low, including the artists Marcel Duchamp, Donald Judd, and Paul McCarthy, race-car driver Ayrton Senna, actor Kevin Costner, the big bang, Swedish erotica, and the California gold rush. This volume, accompanying the first US survey of his works, centers on four highly sensory, large-scale pieces that incorporate neon, radio, smoke rings, and even a model train into large environments that engulf the viewer. These four canonical installations are navigated via five critical essays that help unify Rhoades’s labyrinthine, often overwhelming methods into the single overarching project he envisioned. The book also features illustrations of each major work dating from 1991 to 2006, accompanied by explanatory texts that illuminate Rhoades’s materials and methods as both highly accessible and artistically complex.

Jason Rhoades, Four Roads

Christopher Williams: Printed in Germany (red)

Christopher Williams: Printed in Germany (green)

By Josef Albers. Foreword by Nicholas Fox Weber



The 50th anniversary edition of a classic text, featuring an expanded selection of color studies

“The landmark 1963 book by Josef Albers . . . isn’t just for aspiring artists. Its mesmerizing illustrations are a revelation for anyone interested in color theory and human perception.”—Pilar Viladas,

 is a masterwork in art education. Conceived as a handbook and teaching aid for artists, instructors, and students, this influential book presents Albers’s singular explanation of complex color theory principles.

Originally published by Yale University Press in 1963 as a limited silkscreen edition with 150 color plates, 

 first appeared in paperback in 1971, featuring ten color studies chosen by Albers, and has remained in print ever since. With over a quarter of a million copies sold in its various editions since 1963, 

 remains an essential resource on color, as pioneering today as when Albers created it.

Fifty years after 

’s initial publication, this anniversary edition presents a significantly expanded selection of close to sixty color studies alongside Albers’s original text, demonstrating such principles as color relativity, intensity, and temperature; vibrating and vanishing boundaries; and the illusion of transparency and reversed grounds. A celebration of the longevity and unique authority of Albers’s contribution, this landmark edition will find new audiences in studios and classrooms around the world.

Josef Albers: Interaction of Color

In February 1943, the progressive newspaper PM hired Ad Reinhardt as its staff artist and, in January 1946, Reinhardt embarked on his most ambitious illustration project—the notable 

 series, in which his cartoons and collages transformed from small, supplemental illustrations, to complex, ironic, and pithy art-historical lessons always articulated with a keenly critical eye and a wry sense of humor that remains relevant today. 

In addition to showing Reinhardt’s complete 

 series, this catalogue, which was published on the occasion of the 2013 exhibition at David Zwirner in New York, also includes the artist’s ever-relevant biting, satirical critiques of the contemporary art world later published in such periodicals as 

. As Dan Nadel notes in his review of the exhibition, “Reinhardt winkingly guides viewers through art as he knew it. Along the way there are many now-forgotten artists, critics, curators and galleries, and many still known. But trace-the-reference is only part of the fun. The elegance of Reinhardt’s compositions, the deftness with which he juxtaposes text and image, and his infrequent, but jarring use of hand-drawn cartooning make each strip a gem.”

Introducing new scholarship on this facet of Reinhardt’s career by curator Robert Storr, the publication includes large, black-and-white plates of the artist’s art comics. Storr lists a handful of Reinhardt’s contemporaries who were, like the artist himself, successfully employed as illustrators in the 1930s, 1940s, and 1950s, from Philip Guston to Saul Steinberg—but among them, he declares, only Reinhardt managed to “transform that bread-and-butter occupation into a full-fledged but at the same time separate dimension of his larger aesthetic enterprise.” From 

, printed with a telling disclaimer that the editors’ views “do not necessarily reflect those of the author of this page,” to 

, accompanied by passionate cautions against the danger of market obsession, these pages bring to life Reinhardt’s inimitable spirit for provocation and thoughtful critique. They exist as a testament to his legacy as one of the most important artists of the twentieth century, and his comics continue to resonate as important examples of astute political, cultural, and social commentary.

Art Comics

Ad Reinhardt: How to Look

Portrait of Toba Khedoori, 1995. Photo by Rachel Khedoori.

Julien Bismuth

Los Angeles-based artist Toba Khedoori is known for delicately shaded, large-scale compositions that depict objects and everyday environments divorced from any background. Whether drawing and painting onto thin sheets of paper and stapling these directly onto the wall, or using canvas as physical support, her works are poised between ephemerality and monumentality. Doors and windows, chairs and stairs, fences and bricks, train compartments and fireplaces appear at once familiar and unrecognizable, and their “neither-here-nor-there” presence seems to become a space for meditation.

Designed in close collaboration with the artist, this exquisitely produced—and generously scaled—catalogue features a recent series of oil paintings from her 2012 exhibition at David Zwirner in New York, which marked her sixth presentation with the gallery. Gatefolds allow the viewer to appreciate the intricacy of these works. Ropes in various configurations are a recurrent motif, along with subjects from the natural world, including mountain ranges, tree branches, and rivers. Spare, open expanses of the white page surround some of the renderings, giving the images a calming, otherworldly quality; their visual power is contextualized with an essay about Khedoori’s practice by noted artist and writer Julien Bismuth.

Toba Khedoori

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

Produced in close collaboration with the artist, this beautifully designed publication features works on paper created over the past decade by Suzan Frecon. Large-scale reproductions and gatefold pages reveal the extraordinary details: watercolors are on agate-burnished old Indian ledger paper, found or salvaged old Indian paper, agate-burnished double-weight Indian jute paper, Chinese Yumei, Japanese handmade paper, Fabriano hot press paper, and Arches hot press paper.

Also included are excerpted texts by Sarah Eckhardt from her 2008 essay “Portio Minor: Suzan Frecon’s Watercolors,” reproductions of books from the artist’s library, and intimate photographs of the artist’s studio.

Suzan Frecon: paper

Raymond Pettibon’s work embraces a wide spectrum of American “high” and “low” culture, from the deviations of marginal youth to art history, literature, sports, religion, politics, and sexuality. Rich in detail, his obsessively worked drawings take, as their point of departure, the Southern California punk-rock culture of the late 1970s and 1980s and the do-it-yourself aesthetic of album covers, comics, concert flyers, and fanzines that characterized the movement—but they have come to occupy their own genre of potent and dynamic artistic commentary. His subjects have included political figures and historical events throughout the years and with mounting intensity since September 11, 2001.

Raymond Pettibon: Here’s Your Irony Back

 includes full-color, striking images of Ronald and Nancy Reagan, J. Edgar Hoover, both Bush presidents, the Kennedys, Hitler, scenes from the Vietnam War and protest movements, wars in Iraq and Afghanistan, the prisoner abuse of Abu Ghraib, President Obama, and Osama bin Laden. As artfully described by art historian Benjamin H.D. Buchloh in his essay for the book, Pettibon’s works from this period engage the recurring tropes of the day, from caricature, sleaze, and pop, to graffiti and patriotism, engaging universal issues with a tone that is at turns desperate, hilarious, ironic, brutal, or tragic. Brought together here, the images in this book serve to capture the power and urgency of Pettibon’s original graphic endeavor.

Political Works 1975-2013

Raymond Pettibon: Here's Your Irony Back

Created by Pascal Dangin in collaboration with the artist, this large-scale publication presents the now iconic 

Between 1990 and 1992, Philip-Lorca diCorcia, funded by a National Endowment for the Arts fellowship, made multiple trips to Los Angeles to scout locations, invent scenarios, and ultimately find male prostitutes that would agree to pose for photographs. DiCorcia used his fellowship money to pay the men whatever price they charged for their most typical service, and ultimately prompted a complaint of misuse of government funds. The titles of these encounters amplify the facts: Ralph Smith, 21 years old, Ft. Lauderdale, Florida, and $25.

 marks the beginning of diCorcia’s engagement with street photography. Many of his works appear to depict random events in public settings, yet rarely involve chance. Knowing precisely what he wanted from each photograph, diCorcia would first try out his idea for a composition with his assistants, and then return to the location with the hustlers he had approached (usually around Santa Monica Boulevard in Hollywood), such as a motel room, a vacant lot, a fast-food restaurant, in between and inside cars. The narrative was always deliberate, and the result is a series of carefully composed, yet loaded works which revolve around a tension between the subject’s unique presence in front of the camera and the artist’s predetermined idea for the shot.

 at David Zwirner, New York (September 12 – November 2, 2013).

Philip-Lorca diCorcia: Hustlers

Katharina Dohm

Geoff Dyer

Christoph Ribbat

Texts by Katharina Dohm, Geoff Dyer, and Christoph Ribbat

The photography of Philip-Lorca diCorcia achieves a marvelous balance of artifice and the everyday. Over the past three decades, diCorcia has developed a unique and influential style, in which a realistic, almost documentary style of representation is subverted or countered by visibly staged composition. This combination of seemingly opposite qualities endows his images with a mysterious eeriness. In his 

 series (1990–1992), diCorcia made portraits of male prostitutes in minutely composed settings, and for 

 (2000–2001)–probably his most famous series–he depicted passersby on the street in New York (who were oblivious to his photographing them) as though they were film stars. Alongside the series 

(1975–1999), this volume, published for a major European retrospective and produced in close collaboration with diCorcia, also features works from his new and ongoing 

Philip-Lorca diCorcia

A detail from a painting by Oscar Murillo, titled manifestation, dated 2019.

Oscar Murillo in his studio, 2022. Photo by Jason Schmidt

Clara Dublanc

Oscar Murillo

Olu Odukoya

Published in an edition of 500 copies on the occasion of Oscar Murillo’s solo exhibition,

 if I was to draw a line, this journey started approximately 400km north of the equator

This publication features images of Murillo’s exhibition alongside photography taken at La Paila in Colombia and in the artist’s studio in London in 2013. There is an accompanying essay by Clara Dublanc, entitled 

Us, Them and the In-Between: Migrants’ Hidden Identity

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

Gerd Harry Lybke

Neo Rauch (born 1960) is one of the most important figurative painters of his generation and a pioneer of the so-called new Leipzig school of painting. Gespenster (Ghosts) is published for Rauch’s most recent solo exhibition of the same name at Galerie Eigen+Art Leipzig, in 2013. The catalogue contains the first reproductions of the 20 new paintings that were shown in the exhibition, as well as detailed views of the canvases and installation shots. Rauch’s new paintings portray brooding phantasmagoric scenarios composed of several different snapshots that spatially (and sometimes narratively) overlay each other. A rusty, red-brown undertone suffuses the pictures, its muteness emphasized against intensely chromatic areas. Unlike the large-scale paintings, Rauch’s smaller works are softer and more graphic, with isolated figures and deserted landscapes, like fragments from completed pictures that have become independent.

Neo Rauch: Gespenster

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.