Sonia Delaunay, “Five Designs for Children’s Clothing,” 1920. From Sonia Delaunay: Art, Design, Fashion, published by Fundación Colección Thyssen-Bornemisza. See page 18. FEATURED RELEASES 2 Journals 90 Limited Editions 92 Lower-Priced Books 94 Backlist Highlights from Lars Müller 95 Backlist Highlights from Skira 96 Backlist Highlights from Heni & Inventory Press 97 CATALOG EDITOR Thomas Evans ART DIRECTOR SPRING HIGHLIGHTS 98 Stacy Wakefield IMAGE PRODUCTION Art 100 Hayden Anderson, Isabelle Baldwin Photography 130 COPY WRITING Architecture & Design 148 Janine DeFeo, Thomas Evans Art History 166 PRINTING Sonic Media Solutions, Inc. Writings 169 FRONT COVER IMAGE SPECIALTY BOOKS 176 Burt Glinn, “Jay DeFeo in Her Studio,” 1960. From The Beat Scene, published by Reel Art Art 178 Press. See page 41. Group Exhibitions 194 BACK COVER IMAGE Photography 198 Anna Zemánková, untitled pastel, oil and ink drawing, early 1960s. From Anna Zemánková, Backlist Highlights 206 published by Kant. See page 109. Index 215 Bruce Nauman: Disappearing Acts Edited by Kathy Halbreich, Isabel Friedli, Heidi Naef, Magnus Schaefer, Taylor Walsh. Text by Thomas Beard, Briony Fer, Nicolás Guagnini, Kathy Halbreich, Rachel Harrison, Ute Holl, Suzanne Hudson, Julia Keller, Liz Kotz, Ralph Lemon, Glenn Ligon, Catherine Lord, Roxana Marcoci, Magnus Schaefer, Felicity Scott, Martina Venanzoni, Taylor Walsh, Jeffrey Weiss. At 76 years old, Bruce Nauman is widely ac- knowledged as a central figure in contemporary art whose stringent questioning of values such as good and bad remains urgent today. Throughout his 50-year career, he has explored how mutable experiences of time, space, sound, movement and language provide an insecure foundation for our understanding of our place in the world. This richly illustrated catalog offers a compre- hensive view of Nauman’s work in all mediums, spanning drawings across the decades; his early fiberglass sculptures; sound environments; ar- chitecturally scaled, participatory constructions; rhythmically blinking neons; and the most recent 3D film that harks back to one of his earliest perfor- mances. A wide range of authors—curators, artists and historians of art, architecture and film—focus on topics that have been largely neglected, such as the architectural structures that posit real or imaginary spaces as models for ethical inquiry and mechanisms of control. An introductory essay explores Nauman’s many acts of disappearance, withdrawal and deflection as central formal and intellectual concerns. The 18 other contributions discuss individual objects or themes that persist throughout the artist’s career, including the first extensive essay on Nauman as a photographer and the first detailed treatment on the role of color in his work. A narrative exhibition history traces his reception, and features a number of rare or previ- ously unpublished images. Bruce Nauman was born in Indiana in 1941 and raised near Milwaukee, Wisconsin. He studied math, music and physics at the University of Wis- consin–Madison before switching his major to visual art, and received an MA in sculpture from the University of California, Davis, in 1966. In 1979 With a magician’s sleight of he moved to New Mexico, where he continues to reside. Nauman’s work has been the subject of two hand, Nauman’s art makes previous retrospectives, in 1972 and 1994. In 2009 he represented the United States at the Venice Bi- disappearance visible ennale, where he won the Golden Lion. THE MUSEUM OF MODERN ART 9781633450318 U.S. $75.00 CDN $95.00 Hbk, 9 x 10.5 in. / 352 pgs / 375 color. EXHIBITION SCHEDULE March/Art Basel, Switzerland: Schaulager, 03/16/18–08/26/18 New York: The Museum of Modern Art, 10/21/18–03/17/19 New York: MoMA PS1, 10/21/18–03/24/19 2 artbook.com artbook.com 3 Andy Warhol’s The Chelsea Girls Edited with text by Geralyn Huxley, Greg Pierce. Foreword by Rajendra Roy. Essay by Gus Van Sant. Contributions by Patrick Moore, Signe Warner Watson. Andy Warhol’s 1966 movie The Chelsea Girls is the iconic document of the Factory scene and 1960s New York. Filmed in part at the Chelsea Hotel with Factory Superstars like Nico, Ondine, Brigid Berlin, Gerard Malanga and Mary Woronov, The Chelsea Girls was Warhol’s first commercially successful film. “In one film alone,” an early reviewer noted, “[Warhol] has sadism, masochism, whipping, transvestites, homos, prostitutes, a homosexual ‘Pope,’ boredom, stunningly beauti- ful girls, depravity, humor, ‘psychedelics,’ truth, honesty, liars, poseurs....” In honor of the 24th anniversary of The Andy War- hol Museum, the publication of Andy Warhol’s The Chelsea Girls coincides with a major project undertaken by the Andy Warhol Museum to digitize hundreds of his well-known and never-before-seen films. The book is an in-depth, deluxe treatment of the film, featur- ing stills from the newly digitized, previously unpublished transcripts and archival materials, and expanded information about each of the individual films that comprise The Chelsea Girls. The film’s alternation of sound between the left and right screens is reproduced in the publication’s complete, as-heard transcript printed directly alongside imagery from the corresponding reels on silver metallic paper to evoke an authentic experience of the film. Also included are previously unpublished transcriptions of unheard reels. Andy Warhol’s The Chelsea Girls is a beautifully produced document of a leg- endary movie and a mythic moment. D.A.P./THE ANDY WARHOL MUSEUM 9781942884187 U.S. $65.00 CDN $85.00 Hbk, 9 x 12 in. / 328 pgs / illustrated throughout. April/Film & Video/Art Warhol’s iconic portrayal of the ALSO AVAILABLE Factory scene and Andy Warhol: Prints 9781891024634 ’60s New York Hbk, U.S. $85.00 CDN $105.00 D.A.P. 4 artbook.com artbook.com 5 René Magritte The Fifth Season Edited with text by Caitlin Haskell. Text by Michel Draguet, Clare Elliott, Katrina Rush, Abigail Solomon-Godeau, Sandra Zalman. When René Magritte reached his 40s, something unex- pected happened. The painter, who had honed an iconic Surrealist style between 1926 and 1938, suddenly started making paintings that looked almost nothing like his earlier work. First he adopted an Impressionist aesthetic, borrow- ing the sweet, hazy palette of Pierre-Auguste Renoir—which he described as “sunlit Surrealism.” Then his style shifted again, incorporating popular imagery, the brash colors of Fauvism and the gestural brushwork of Expressionism. And then Magritte returned to his classic style as if nothing had happened. René Magritte: The Fifth Season looks at the art Magritte made during and after the stylistic crises of the 1940s, revealing his shifting attitudes toward painting. Subjects explored in this volume include the artist’s Renoir period; the période vache, with its Fauvist- and Expressionist-style paintings that are little known to American audiences; the “hypertrophy of objects” paintings, a series that plays with the scale of familiar objects; and the enigmatic Dominion of Light suite, paintings that suggest the simultaneous experi- ence of day and night. Featuring full-color plates of approximately 50 oil paintings, and a dozen of the artist’s gouaches, René Magritte: The Fifth Season offers a new understanding of Magritte’s special position in the history of 20th-century art. In a career of almost half a century, Belgian Surrealist René Magritte (1898–1967) probed the distance between object, language and image. Even as he playfully explored new styles, his painting practice remained consistent in its cau- tionary message not to equate the observable world with reality in all its fullness. D.A.P./SAN FRANCISCO MUSEUM OF MODERN ART 9781942884231 U.S. $34.95 CDN $45.00 Hbk, 8.5 x 10.5 in. / 156 pgs / 105 color. April/Art EXHIBITION SCHEDULE San Francisco, CA: San Francisco Museum of Modern Art, 5/19/18–10/28/18 Magritte’s extraordinary late style: “sunlit Surrealism” ALSO AVAILABLE Magritte: The Mystery of the René Magritte: Ordinary, 1926-1938 The Revealing Image 9780870708657 9789491819735 Hbk, U.S. $65.00 CDN $85.00 Hbk, U.S. $45.00 CDN $57.50 The Museum of Modern Art Ludion 6 artbook.com artbook.com 7 Established by Albert Skira in 1928, SKIRA is one of the world’s oldest and finest international art publishers, with offices in Milan, Rome and Paris. We are delighted to welcome this great publisher to the list. PREVIOUSLY ANNOUNCED Alphonse Mucha Edited by Tomoko Sato. Spanning the entirety of Alphonse Mucha’s prolific career, this handsome, afford- able and concise overview examines the beloved artist’s oeuvre—from posters, jewelry, interior decoration, theater and product design to painting, book illustration, sculpture and photography—across six themed sections that highlight the artist’s personality: “A Bohemian in Paris”; “A Picture-Maker for People”; “A Cosmopolitan”; “The Mystic”; “The Patriot”; and “The Artist-Philosopher.” Mucha rose to fame in fin-de-siècle Paris with his elegant theater posters for Sarah Bernhardt, the most famous French actress of the time, and his decorative panels featuring gracefully posed women. For these posters, Mucha created a distinctive style characterized by harmonious compositions, sinuous forms and a muted pal- ette, which became synonymous with the newly emerging decorative style of the time—Art Nouveau. By the time of the Paris Exposition Universelle of 1900, Mucha had become a leading figure in this decorative-art movement, and he defined the look of the era. The catalog explores the development of Mucha’s career and overall achievements as a multifaceted and visionary artist. Czech painter Alphonse Mucha (1860–1939) leapt to fame in 1895, in Paris, when his poster “Gismonda,” created for the superstar Sarah Bernhardt, heralded the birth of “Le Style Mucha.” Between 1903 and 1922 Mucha made four trips to the United States, where he attracted the patronage of Charles Richard Crane, a Chicago in- dustrialist and Slavophile, who subsidized Mucha’s epic series of 20 large historical paintings illustrating the “Epic of the Slavic People” (1912–30).