Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts David Zwirner Books 2015 Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications
No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene Dumas: Against the Wall Luc Tuymans: Exhibitions at David Zwirner Raoul De Keyser: Terminus: Drawings – and Recent Paintings Marcel Dzama: Puppets, Pawns, and Prophets Palermo: Works on Paper – Jan Schoonhoven Suzan Frecon: oil paintings and sun Toba Khedoori Al Taylor: Pass the Peas and Can Studys Greene Street: The Early Years – Michael Riedel: Oskar James Bishop
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David Zwirner Books
David Zwirner Books was founded in as the stand-alone publishing house of David Zwirner, a contemporary art gallery with locations in New York Chelsea and London Mayfair. Since opening its doors in , the gallery has been home to innovative, singular, and pioneering exhibitions across a variety of media and genres. David Zwirner Books publishes catalogues, monographs, historical surveys, artists’ books, and catalogues raisonnés related to the gallery’s renowned exhibition program. The imprint’s publications are produced with the highest of production standards in collaboration with some of the most respected authors, designers, and printers working today, and serve as a valuable resource to curators, scholars, students, and art lovers alike. David Zwirner Books’s titles are distributed internationally in the book trade by Artbook | D. A. P. and Thames & Hudson, and are available in bookstores and museum shops worldwide.
About davidzwirnerbooks.com
Launched in , davidzwirnerbooks.com offers a wide selection of publications related to the exhibition program of David Zwirner. Featured are titles from David Zwirner Books, as well as from museums including The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; and Tate, London; in addition to commercial imprints including Abrams, Hatje Cantz, Radius Books, Rizzoli, Steidl, Yale University Press, and others.
In the words of Peter Schjeldahl, writing in The New Yorker about the Artists featured in the book include Werner exhibition No Problem: Cologne / New York – at David Zwirner in Büttner, George Condo, Walter Dahn, Jiri Georg New York, “the show’s cast of artists amounts to a retrospective shopping Dokoupil, Peter Fischli / David Weiss, Günther Förg, Robert Gober, Georg Herold, Jenny Holzer, list of what would matter and endure in art of the era.” With an eye to Mike Kelley, Martin Kippenberger, Jeff Koons, canonizing that moment, this seminal publication examines the latter Barbara Kruger, Sherrie Levine, Albert Oehlen, half of the s through the lens of international art scenes that were Raymond Pettibon, Richard Prince, Cindy based in Cologne — arguably the European center of the contemporary Sherman, Rosemarie Trockel, Franz West, and Christopher Wool. art world at that time — and New York. • While a number of established Cologne-based gallerists, including Born in Hamburg in , Diedrich Diederichsen Karsten Greve, Paul Maenz, Rolf Ricke, Michael Werner, and Rudolf has worked since as a Professor of WERNER BÜTTNER • GEORGE CONDO Zwirner, had already begun shaping the European reception of American Contemporary Art Theory at the Academy of Fine Arts in Vienna. In the s and s, he was WALTER DAHN • JIRI GEORG DOKOUPIL • PETER FISCHLI/DAVID WEISS art in the previous decade, the s marked a period during which art a music editor for the German magazine Spex, being produced in and around Cologne gained international attention. and he has written art criticism and essays in A burgeoning gallery scene supported the emerging work of artists based renowned art magazines from Artforum to Texte in the region, with gallerists such as Gisela Capitain, Rafael Jablonka, zur Kunst, as well as numerous books including On Surplus Value in Art and, most Max Hetzler, and Monika Sprüth showing artists such as Walter Dahn, recently, Über Pop-Musik On Pop Music . Martin Kippenberger, Albert Oehlen, Rosemarie Trockel, and others. • The works of these German artists were exhibited along with the latest A writer and curator based in New York, Bob contemporary art from the US by artists like Robert Gober, Jeff Koons, Nickas has organized more than eighty exhibitions since . He was Curatorial Advisor Richard Prince, Cindy Sherman, and Christopher Wool. Conversely, at PS1 Contemporary Art Center from to the works of German artists were presented in New York, with breakout , where his exhibitions included Lee Lozano: exhibitions at galleries such as Barbara Gladstone, Metro Pictures, Drawn from Life; William Gedney — Christopher Luhring, Augustine & Hodes, and other significant venues. Important Wool: Into the Night; Stephen Shore: American Surfaces; and Wolfgang Tillmans: Freedom from COLOGNEGÜNTHER FÖRG • ROBERT GOBER • GEORG HEROLD museum exhibitions that explored work being produced and exhibited the Known. He collaborated with Cady Noland on both sides of the Atlantic also set the tone for this ongoing dialogue, on her installation for Documenta in ; JENNY HOLZER • MIKE KELLEY • MARTIN KIPPENBERGER among them Europa / Amerika Museum Ludwig, Cologne, and contributed a section to Aperto at the Venice A Distanced View: One Aspect of Recent Art from Belgium, France, Germany, Biennale; and served on the curatorial teams that organized the Biennale de Lyon, and Holland New Museum, New York, . and Greater New York at PS1 Contemporary Big, bold, and vibrant, this Pentagram-designed publication revives Art Center. His books include Live Free or Die: the conversation, reproducing in full color over one hundred immensely Collected Writings – , The Is Vision varied artworks by the twenty-two international artists included in , Painting Abstraction , and Catalog of the Exhibition . He is one of the authors this massive exhibition — one of the largest in David Zwirner’s history. of Defining Contemporary Art: Years in Beyond its stunning visual components, the book features crucial new Pivotal Artworks . A new collection of his scholarship by Diedrich Diederichsen and Bob Nickas, and an illustrated writing, Komp-Laint Dept., is forthcoming in chronology of the decade by Kara Carmack. The book also includes an the fall of . • arsenal of compelling archival material, from documentary photographs Kara Carmack is a Research & Exhibitions from the period to reproductions of Cologne’s culture magazine Spex. Associate at David Zwirner, New York. NEWJEFF KOONS • BARBARA YORK KRUGER • SHERRIE LEVINE Taken as a whole, this ambitious exhibition catalogue encapsulates the energy, heart, and “dissonance of styles”— in the words of Schjeldahl — ALBERT OEHLEN • RAYMOND PETTIBON embodied by this fascinating and fecund moment in global art history.
No Problem: Cologne/New York 1984–1989RICHARD PRINCE • CINDY SHERMAN ROSEMARIE TROCKEL • FRANZA WEST • CHRISTOPHER WOOL
David Zwirner Books Hardcover, × ¼ in (.×. cm) pages, color ISBN $ US & Canada | £ | € • Foreword by David Zwirner. Texts by Diedrich Diederichsen and Bob Nickas. Illustrated chronology by Kara Carmack
No Problem: Cologne/New York
Published on the occasion of Bridget Riley’s major exhibition at David Born in London in , Bridget Riley attended Zwirner in London in the summer of , this fully illustrated catalogue Goldsmiths College from to and offers intimate explorations of paintings and works on paper produced the Royal College of Art from to . In , she was made a CBE Commander of the Most by the legendary British artist over the past fi²y years, focusing specifi- Excellent Order of the British Empire and in , cally on her recurrent use of the stripe motif. Riley has devoted her practice she was appointed the Companion of Honour. to actively engaging viewers through elementary shapes such as lines, In , she won the International Prize for circles, curves, and squares, creating visual experiences that at times Painting at the Venice Biennale. In , the artist was awarded the Praemium Imperiale in Tokyo. trigger optical sensations of vibration and movement. The London show, She received the Kaiser Ring of the City of Goslar, her most extensive presentation in the city since her retrospective Germany in and the Rubens Prize of the at Tate Britain, explored the stunning visual variety she has managed City of Siegen, Germany in . Recent interna- to achieve working exclusively with stripes, manipulating the surfaces of tional museum shows include Bridget Riley, The Art Institute of Chicago ; Bridget Riley: her vibrant canvases through subtle changes in hue, weight, rhythm, Paintings and Related Work, National Gallery, and density. As noted by Paul Moorhouse, “Throughout her development, London ; Bridget Riley: From Life, National Riley has drawn confirmation from Eugène Delacroix’s observation Portrait Gallery, London ; Bridget Riley: that ‘the first merit of a painting is to be a feast for the eyes.’ ¶Her· most Flashback, Walker Art Gallery, Liverpool ; Bridget Riley: Rétrospective, Musée d’Art recent stripe paintings are a striking reaffirmation of that principle, Moderne de la Ville de Paris ; Bridget Riley: exciting and entrancing the eye in equal measure.” Paintings and Drawings ¡ – , Museum of Created in close collaboration with the artist, the publication’s Contemporary Art, Sydney ; Bridget Riley: beautifully produced color plates offer a selection of the iconic works New Work, Museum Haus Esters and Kaiser Wilhelm Museum, Krefeld, Germany ; and from the exhibition. These include the artist’s first stripe works in color Bridget Riley: Reconnaissance, Dia Center for the from the s, a series of vertical compositions from the s that Arts, New York . Riley’s visual vocabulary is demonstrate her so-called “Egyptian” palette — a “narrow chromatic complemented by her numerous books and range that recalled natural phenomena”— and an array of her modestly essays in which she explores concepts pertaining to her own practice as well as the works of other scaled studies, executed with gouache on graph paper and rarely artists. She has also co-curated exhibitions before seen. on Paul Klee Hayward Gallery, and Piet A range of texts about Riley’s original and enduring practice Mondrian Tate Gallery, . • grounds and contextualizes the images, including new scholarship by Robert Kudielka is an art historian and former art historian Richard Shiff, texts on both the artist’s wall paintings Professor of Aesthetics and Philosophy of and newest body of work by Paul Moorhouse, th Century Curator at Art at the University of the Arts, Berlin. He is the the National Portrait Gallery in London, and a interview with Robert co-author with Bridget Riley of Paul Klee: The Kudielka, her longtime confidant and foremost critic. Additionally, the Nature of Creation, Works, – and author and editor of numerous books on Riley, book features little-seen archival imagery of Riley at work over the years; including Robert Kudielka on Bridget Riley: documentation of her recent commissions for St. Mary’s Hospital Essays and interviews since ¢ ; revised and in West London, taken especially for this publication; and installation expanded edition, and The Eye’s Mind: views of the exhibition itself, installed throughout the three floors Bridget Riley, Collected Writings ¡ – . • of the gallery’s eighteenth-century Georgian townhouse located in the Paul Moorhouse is the th Century Curator heart of Mayfair. at the National Portrait Gallery in London, where he is responsible for acquisitions, displays, and research relating to the collection within the period from to . Since , he has organized several exhibitions at the museum, including Pop Art Portraits , Gerhard Richter Portraits , and The Queen: Art and Image . Recent publications include Pop Art Portraits , Anthony Caro: Presence , Bridget Riley: From Life , and A Guide to Twentieth Century Portraits . • Bridget Riley: Richard Shiff is the Effie Marie Cain Regents Chair in Art at The University of Texas at Austin, The Stripe Paintings where he directs the Center for the Study of Modernism. His publications include Cézanne and the End of Impressionism , Critical Terms for Art History co-edited, ; second edition, , Barnett Newman: A Catalogue Raisonné co-authored, , Doubt , Between Sense and de Kooning , and Ellsworth Kelly: New York Drawings – ¡ , among others. David Zwirner Books For books published by David Zwirner, Shiff has contributed essays to Dan Flavin: Series and Hardcover, × in ( . × . cm) Progressions and Donald Judd . pages, color, b&w, gatefolds ISBN $ US & Canada | £ | € • Texts by Robert Kudielka, Paul Moorhouse, and Richard Shiff. Interview with the artist by Robert Kudielka
Bridget Riley: The Stripe Paintings
Yayoi Kusama: I Who Have Arrived In Heaven offers an in-depth look at Yayoi Kusama was born in in Matsumoto, the multifaceted practice of this pioneering artist. Over the span of six Japan. A²er briefly studying painting in Kyoto, decades, Kusama’s work has transcended two of the most important she moved to New York City in the late s, eventually establishing herself in the mid- s art movements of the second half of the twentieth century — pop art and as an important avant-garde artist by staging minimalism — drawing vocabulary from both to forge a hallucinatory groundbreaking and influential happenings, visual style that is distinctly her own. As articulated by art critic and poet events, and exhibitions. Her work gained Akira Tatehata in his accompanying catalogue essay, “the genius that widespread recognition in the late s a²er a number of international solo exhibitions, generates ¶Kusama’s· fertile artistic world, a paean to life, is driven including shows at the Center for International by obsessive thoughts”— and her extraordinary and highly influential Contemporary Arts, New York and the Museum of career encompasses works in various mediums that unfailingly conjure Modern Art, Oxford, England. She represented both microscopic and macroscopic universes at once. Japan in at the th Venice Biennale to much critical acclaim. She has continued to show Kusama’s critically acclaimed inaugural exhibition at David widely around the world, and her work is featured Zwirner in New York presented a selection of the artist’s large-scale in such renowned international collections as square-format acrylic on canvas paintings. This vibrant publication — the Centre Georges Pompidou, Paris; Hara printed with multiple inks at the highest quality to fully capture the Museum of Contemporary Art, Tokyo; Hirshhorn Museum and Sculpture Garden, Washington, dazzling glow of Kusama’s colorful canvases — opens with a selection of D. C. ; Los Angeles County Museum of Art; The these works, which anchored the gallery presentation. Kusama’s practice Museum of Modern Art, New York; The National recurrently integrates motifs that evoke the cosmic and the primordial, Museum of Art, Osaka; National Museum of from the ethereal to earthly, and embodies the unique amalgamation Modern Art, Tokyo; Stedelijk Museum, Amsterdam; Taipei Fine Arts Museum; Tate of representational and non-representational subject matter. Gallery, London; Walker Art Center, Minneapolis; Also featured are stills of the video installation SONG OF A and the Whitney Museum of American Art, MANHATTAN SUICIDE ADDICT, as well as stunning panoramic views New York. • of the exhibition’s two infinity rooms, including INFINITY MIRRORED Akira Tatehata is an art critic and poet based ROOM – THE SOULS OF MILLIONS OF LIGHT YEARS AWAY , which in Japan who has written extensively about Yayoi was hailed by The New York Times as encouraging “the ultimate selfie.” Kusama’s work. In , he invited the artist to The other room, LOVE IS CALLING, stands out as among the artist’s most represent Japan at the th Venice Biennale. immersive environments to date: a darkened, mirrored room illuminated He now serves as the President of the Kyoto City University of Arts, Director of The Museum by inflatable, tentacle-like forms covered in her signature polka dots, of Modern Art, Saitama, and Chairman of the extending from floor to ceiling and slowly shi²ing color. Japanese Council of Museums. Concluding the publication, an original poem written by Kusama herself, Aer the Battle, I Want to Die at the End of the Universe, contextual- izes her practice: “Having always been distressed over how to live,” she writes, “I have kept carrying the banner for pursuit of art.”
Yayoi Kusama: I Who Have Arrived In Heaven
David Zwirner Hardcover, ½× ½ in ( .× . cm) pages, color ISBN $ US & Canada | £ | € • Text by Akira Tatehata. Poem by Yayoi Kusama
Yayoi Kusama: I Who Have Arrived In Heaven
Hailed by Peter Schjeldahl in The New Yorker as “the most original, Born in in York, Pennsylvania, New York- controversial, and expensive American artist of the past three and a half based artist Jeff Koons studied at the Maryland decades,” Jeff Koons has come to reign as a master of the market, a Institute College of Art in Baltimore and the School of the Art Institute of Chicago. He had his wry puppeteer with a “formidable aesthetic intelligence.” His elaborate, first solo exhibition in at the New Museum exquisitely produced sculptures draw from a contemporary lexicon in New York, and in , his first American survey of consumerism — o²en featuring large-scale reproductions of toys, was held at the Museum of Contemporary Art household items, or luxury goods — while simultaneously holding up a in Chicago. Renowned venues which have presented solo shows in the past decade include mirror to the very culture from which they are extracted. These references the Museo Archeologico Nazionale, Naples ; to popular media are evidenced not merely in his choice of subject Château de Versailles, France ; Museum matter but also in his visual techniques: his sculptures frequently of Contemporary Art Chicago ; The comprise smooth, mirrored surfaces, and his paintings employ bright Metropolitan Museum of Art, New York ; Neue Nationalgalerie, Berlin ; Serpentine and saturated colors. Gallery, London ; Fondation Beyeler, Jeff Koons: Gazing Ball — the first catalogue on the artist’s work to be Basel ; and the Schirn Kunsthalle Frankfurt published by David Zwirner — was produced on the occasion of the and Liebieghaus Skulpturensammlung, major exhibition at the gallery in New York, which marked the world Frankfurt, a joint exhibition in . Koons’s work is held in collections that include The Broad Art debut of his Gazing Ball series, a brand new body of work that occupies Foundation, Santa Monica, California; an important place in the trajectory of his practice. Conceptually derived Los Angeles County Museum of Art; Museum from the mirrored ornaments encountered on many suburban lawns, of Contemporary Art, Tokyo; The Museum including those of Koons’s childhood hometown in rural Pennsylvania, of Modern Art, New York; National Gallery of Art, Washington, D. C. ; San Francisco Museum of every sculpture is anchored by a blue “gazing ball” of hand-blown Modern Art; Solomon R. Guggenheim Museum, glass. These are situated atop large, white-plaster sculptures that have New York; Stedelijk Museum, Amsterdam; been alternately modeled a²er iconic works from the Greco-Roman era, Tate Gallery, London; and the Whitney Museum including the Farnese Hercules and the Esquiline Venus, or a²er such of American Art, New York. A retrospective of Koons’s work, comprising over one hundred quotidian objects from the contemporary residential landscape as a sculptures and paintings that date from to rustic mailbox, a birdbath, and an inflatable garden snowman. the present, was organized by the Whitney Created in close collaboration with Koons, this elegant publication Museum, where it was on view in New York from echoes the classic design of a Picasso catalogue that the artist June to October . The exhibition travels to the Centre Georges Pompidou in Paris November admires. Inside, vivid color plates of the sculptures in situ capture the to April and the Guggenheim Museum stark contrast between the pristine whiteness of the plaster and the highly Bilbao June to September . reflective spheres. In their perfect contours and smooth, glistening sur- • faces, the gazing balls implicate audience as well as context — mirroring Francesco Bonami is a curator and writer. He was the Director of the th Venice Biennale both and offering playful yet powerful meditations on the dialogue and curated the Whitney Biennial. In , between gaze and reflection. “While all of the sculptures are grounded he was the curator of the Jeff Koons retrospective in their own distinct narratives, derived from Art History and suburban at the Museum of Contemporary Art Chicago. towns,” writes Francesco Bonami in his catalogue essay, “the seemingly He lives in New York and Milan. fragile and delicate gazing ball establishes that sense of uncertain equi- librium that exists between history and fantasy, magic and materiality, mass culture and exclusive beauty.”
Jeff Koons: Gazing Ball
David Zwirner Hardcover, ¾× ½ in ( .× . cm) pages, color ISBN $ US & Canada | £ | € • Text by Francesco Bonami
Jeff Koons: Gazing Ball
Ad Reinhardt was one of the most significant American artists of Ad Reinhardt – was born in Buffalo, the twentieth century. His singular career bridges the history of modern New York. A²er graduating from Columbia abstraction with minimal and conceptual practices and continues to University in , Reinhardt studied at the American Artists School and the National resonate today. From his varied work of the s through the early s, Academy of Design, worked on the WPA’s easel to the rigorously systematic and subtly chromatic “black” canvases that division, and became a member of the American would preoccupy him from until his death, Reinhardt’s paintings, Abstract Artists group. In , the same year prolific writings, extensive slides, and published cartoons encompass the newspaper PM hired Reinhardt as its staff artist, he began graduate studies in art history at a multifaceted practice that encourages the viewer’s active, perceptual New York University’s Institute of Fine Arts. engagement in the act of looking at and experiencing art, thereby In addition to his commercial work, he taught influencing successive generations of artists with continued relevance. art and art history at Brooklyn College, Hunter “To him abstraction was not a genre or style,” The New York Times art College, California School of Fine Arts, University of Wyoming, and Yale University. In , he critic Holland Cotter writes of him, “it was an ethos.” joined Betty Parsons Gallery, which presented This catalogue — the first comprehensive overview of Reinhardt’s twelve solo exhibitions over the course of his career in over twenty years — reproduces thirteen of his signature career. Reinhardt’s work was included in impor- “black” paintings — » inch canvases from the s, which he tant museum exhibitions during his lifetime, including Abstract and Surrealist Art in the United considered to be his “ultimate” aesthetic expression and “the last paint- States, Cincinnati Art Museum ; The New ings that anyone can paint.” In addition, there are reproductions of Decade: ¨ American Painters and Sculptors, Reinhardt’s original and published cartoons he completed for various Whitney Museum of American Art, New York publications, humorously commenting on contemporary social, ; Americans ¡¨ and The Responsive Eye, The Museum of Modern Art, New York ; ; political, and cultural concerns. The cartoons are accompanied by and Painting and Sculpture of a Decade: –¡ , a selection from Reinhardt’s extensive collection of , slides taken Tate Gallery, London ; among others. during his ambitious travels around the world. Reinhardt o²en pre- The Jewish Museum mounted Reinhardt’s first sented them in slide shows at the Artists Club in New York, his studio or major retrospective in , and The Museum of Modern Art, New York organized a retrospec- lo², or at various museums and schools across the country during events tive in that traveled to the Museum of he termed “non-happenings.” Published to document the critically Contemporary Art, Los Angeles. More recent lauded exhibition at David Zwirner in New York in , the catalogue exhibitions have taken place at the Solomon R. includes new scholarship by curator Robert Storr, in addition to an Guggenheim Museum, New York ; Josef Albers Museum, Bottrop ; Kröller-Müller extensive chronology of the artist’s life and career. Museum, Otterlo ; and the Institute of Contemporary Arts, London . Malmö Konsthall, Sweden, will highlight Reinhardt’s commercial work in the summer of . • Robert Storr is the Stavros Niarchos Foundation Dean of the Yale School of Art. He was formerly Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art, New York from to . In , he was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. He has also taught at the CUNY Graduate Center, Bard Center for Curatorial Studies, Rhode Island School of Design, Tyler School of Art, New York Studio School, and Harvard University, and has been a frequent lecturer in the United States and abroad. From to , he was Director of Visual Art for the Venice Biennale, the first American invited to assume that position. The exhibition he organized at David Zwirner in the fall of to celebrate the centenary of Ad Reinhardt was voted “Best Show in a Commercial Ad Reinhardt Space in New York” by the US Art Critics Association.
David Zwirner Books Forthcoming in October Hardcover, ¾× ½ in ( .×. cm) pages, color ISBN $ US & Canada | £ | € • Text by Robert Storr. Additional contributions by Alex Bacon, Kara Carmack, and Prudence Peiffer
Ad Reinhardt
In February , the progressive newspaper PM hired Ad Reinhardt Ad Reinhardt – was born in Buffalo, as its staff artist and, in January , Reinhardt embarked on his most New York. A²er graduating from Columbia ambitious illustration project—the notable “How to Look” series, in University in , Reinhardt studied at the American Artists School and the National which his cartoons and collages transformed from small, supplemental Academy of Design, worked on the WPA’s easel illustrations, to complex, ironic, and pithy art-historical lessons always division, and became a member of the American articulated with a keenly critical eye and a wry sense of humor that Abstract Artists group. In , the same year remains relevant today. In addition to showing Reinhardt’s complete the newspaper PM hired Reinhardt as its staff artist, he began graduate studies in art history at “How to Look” series, this catalogue, which was published on the occasion New York University’s Institute of Fine Arts. of the exhibition at David Zwirner in New York, also includes the In addition to his commercial work, he taught artist’s ever-relevant biting, satirical critiques of the contemporary art art and art history at Brooklyn College, Hunter world later published in such periodicals as Critique, tran/sformation, College, California School of Fine Arts, University of Wyoming, and Yale University. In , he Art d’aujourd’hui, and ARTnews. As Dan Nadel notes in his review of the joined Betty Parsons Gallery, which presented exhibition, “Reinhardt winkingly guides viewers through art as he knew twelve solo exhibitions over the course of his it. Along the way there are many now-forgotten artists, critics, curators career. Reinhardt’s work was included in impor- and galleries, and many still known. But trace-the-reference is only part tant museum exhibitions during his lifetime, including Abstract and Surrealist Art in the United of the fun. The elegance of Reinhardt’s compositions, the de²ness States, Cincinnati Art Museum ; The New with which he juxtaposes text and image, and his infrequent, but jarring Decade: ¨ American Painters and Sculptors, use of hand-drawn cartooning make each strip a gem.” Whitney Museum of American Art, New York Introducing new scholarship on this facet of Reinhardt’s career by ; Americans ¡¨ and The Responsive Eye, The Museum of Modern Art, New York ; ; curator Robert Storr, the publication includes large, black-and-white and Painting and Sculpture of a Decade: –¡ , plates of the artist’s art comics, including the “How to Look” series in its Tate Gallery, London ; among others. entirety. Storr lists a handful of Reinhardt’s contemporaries who were, The Jewish Museum mounted Reinhardt’s first like the artist himself, successfully employed as illustrators in the s, major retrospective in , and The Museum of Modern Art, New York organized a retrospec- s, and s, from Philip Guston to Saul Steinberg — but among tive in that traveled to the Museum of them, he declares, only Reinhardt managed to “transform that bread- Contemporary Art, Los Angeles. More recent and-butter occupation into a full-fledged but at the same time separate exhibitions have taken place at the Solomon R. dimension of his larger aesthetic enterprise.” From “How to Look at Guggenheim Museum, New York ; Josef Albers Museum, Bottrop ; Kröller-Müller Iconography,” printed with a telling disclaimer that the editors’ views Museum, Otterlo ; and the Institute “do not necessarily reflect those of the author of this page,” to “How to of Contemporary Arts, London . Malmö Look at Art and Industry,” accompanied by passionate cautions against Konsthall, Sweden, will highlight Reinhardt’s the danger of market obsession, these pages bring to life Reinhardt’s commercial work in the summer of . • inimitable spirit for provocation and thoughtful critique. They exist Robert Storr is the Stavros Niarchos Foundation as a testament to his legacy as one of the most important artists of the Dean of the Yale School of Art. He was formerly twentieth century, and his comics continue to resonate as important Senior Curator in the Department of Painting and examples of astute political, cultural, and social commentary. Sculpture at The Museum of Modern Art, New York from to . In , he was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. He has also taught at the CUNY Graduate Center, Bard Center for Curatorial Studies, Rhode Island School of Design, Tyler School of Art, New York Studio School, and Harvard University, and has been a frequent lecturer in the United States and abroad. From to , he was Director of Visual Art for the Venice Biennale, the first American invited to assume that position. The exhibition he organized at David Zwirner in the fall of to celebrate the centenary of Ad Reinhardt was voted “Best Show in a Commercial Ad Reinhardt: Space in New York” by the US Art Critics How To Look: Art Comics Association.
David Zwirner/Hatje Cantz Hardcover, ¼× ¼ in (.× . cm) pages, color ISBN $ US & Canada | £ | € • Text by Robert Storr
Ad Reinhardt: How To Look: Art Comics
Published to celebrate the critically acclaimed exhibition at Richard Serra was born in San Francisco in . David Zwirner in New York, a show that The New York Times art critic Ken His first solo exhibitions were held at the Galleria Johnson called “near perfect,” Richard Serra: Early Work devotes over La Salita in Rome in and at the Leo Castelli Warehouse in New York in . His first solo three hundred pages to a key five-year period of the artist’s earliest work. museum exhibition was held at The Pasadena Anchored by exquisite black-and-white plates, from installation views Art Museum ; subsequent solo museum of works in situ to documentary photographs, this “impressively realized” shows have been held at the Stedelijk Museum publication offers “a blow-by-blow account of Serra’s rapidly expanding in Amsterdam ; The Museum of Modern Art in New York ; Dia Center for the Arts art-world presence,” as described in a Bookforum review. Focusing specifi- in New York ; and the Pulitzer Foundation cally on work the artist produced during the period between and for the Arts in St. Louis ; among other , this classic tome documents the significance of his early work, with venues. In , eight large-scale works by Serra archival texts and reviews, alongside new scholarship by American art were installed permanently at the Guggenheim Museum Bilbao, and in The Museum of critic and historian Hal Foster. Modern Art, New York presented a retrospective Produced in close collaboration with the artist, this monograph of the artist’s work. A traveling survey of Serra’s aims to reconsider the groundbreaking practices and ideas that so drawings was on view from to at firmly situate Serra in the history of twentieth-century art. Its stunning The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; and selection of seminal works illuminates the debut of the artist’s innovative, The Menil Collection, Houston. In , the process-oriented experiments with nontraditional materials, such as Qatar Museum Authority presented a two-venue vulcanized rubber, neon, and lead, and introduces the interplay of retrospective survey of his work at the QMA gravity and material—of “verticality and horizontality,” writes Foster— Gallery and the Al Riwaq exhibition space, Doha; also in Qatar, a new permanent, site-specific that would remain a fundamental aspect of Serra’s production over work, East-West / West-East, was installed in the subsequent decades. Also featured in the publication are key early the Brouq Nature Reserve in the Zekreet Desert. examples of the artist’s work in steel, as well as stills from some of An exhibition of recent works on paper by the his most important early films. artist was presented at the Instituto Moreira Salles, Rio de Janeiro in . • Hal Foster, an art historian and well-known author on modern and contemporary art and theory, is the Townsend Martin, Class of , Professor of Art & Archaeology at Princeton University. His numerous books include Prosthetic Gods , Design and Crime , the textbook Pop Art , The Return of the Real , and Compulsive Beauty . Foster’s intellectual formation took place in the cultural context of late- s New York, initially as a critic, then as a critical art historian. He began to write for Artforum in and was an editor at Art in America from to . In , he edited a seminal collection of essays on postmodernism, The Anti-Aesthetic: Essays on Postmodern Culture Bay Press, and in published his first collection of essays, Recodings: Art Spectacle, Cultural Politics Bay Press. In , Foster became the Director of Critical and Curatorial Studies at the Whitney Independent Study Program. Foster has been an editor of October and October Books since and writes regularly for art publications, including Artforum, London Review of Books, and New Le Review.
Richard Serra: Early Work
David Zwirner/Steidl Hardcover, ½× in ( . × . cm) pages, color, b&w ISBN $ US & Canada | £ | € • Text by Hal Foster
Richard Serra: Early Work
Richard Serra’s “Reversal” drawings employ two identical rectangular Richard Serra was born in San Francisco in . sheets of paper that are adjoined in a vertical or horizontal format, with His first solo exhibitions were held at the Galleria the black and white areas reversing themselves top to bottom or le² La Salita in Rome in and at the Leo Castelli Warehouse in New York in . His first solo to right. The area that is black on the top or le² sheet is white on the museum exhibition was held at The Pasadena bottom or right sheet, and the area that is white on the top or le² sheet Art Museum ; subsequent solo museum is black on the bottom or right sheet in a figure / ground reversal. shows have been held at the Stedelijk Museum Vertical and Horizontal Reversals, designed by McCall Associates in Amsterdam ; The Museum of Modern Art in New York ; Dia Center for the Arts in close collaboration with the artist and printed by Steidl, is the most in New York ; and the Pulitzer Foundation extensive presentation of the “Reversal” drawings to be published. for the Arts in St. Louis ; among other The book reproduces all thirty-three drawings shown in at David venues. In , eight large-scale works by Serra Zwirner in New York, in addition to documenting this series in its entirety. were installed permanently at the Guggenheim Museum Bilbao, and in The Museum of The book also includes new scholarship by art historian Gordon Hughes. Modern Art, New York presented a retrospective of the artist’s work. A traveling survey of Serra’s drawings was on view from to at The Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art; and The Menil Collection, Houston. In , the Qatar Museum Authority presented a two-venue retrospective survey of his work at the QMA Gallery and the Al Riwaq exhibition space, Doha; also in Qatar, a new permanent, site-specific work, East-West / West-East, was installed in the Brouq Nature Reserve in the Zekreet Desert. An exhibition of recent works on paper by the artist was presented at the Instituto Moreira Salles, Rio de Janeiro in . • Gordon Hughes is a Mellon Assistant Professor in the Department of Art History at Rice University. He received his PhD from Princeton in , a²er studying philosophy at the Centre for the Study of Theory and Criticism at the University of Western Ontario. Originally trained as an artist, he holds a MFA in studio arts from the University of Illinois at Chicago. He is the author of Resisting Abstraction: Robert Delaunay and Vision in the Face of Modernism ; co-editor with Philipp Blom of Nothing but the Clouds Unchanged: Artists in World War One ; and co-editor with Hal Foster of October Files: Richard Serra . He has published on subjects ranging from Robert Delaunay’s early abstraction, Douglas Huebler’s photo-conceptu- alism, Jenny Holzer’s text-based artworks, Roland Barthes’s book Camera Lucida, Georges Braque’s still lifes, Robert Graves’s autobiography, and Fernand Léger’s cinema and painting. Hughes was a co-curator of the exhibition World War One: War of Images / Images of War at the Getty Research Institute and the Mildred Lane Kemper Art Museum. His current book project, begun while a scholar at the Getty Research Institute in , is titled Seeing Red: Murder, Richard Serra: Abstraction, Machines. Vertical and Horizontal Reversals
David Zwirner/Steidl Forthcoming in June Hardcover, ¾× ¼ in ( .× . cm) pages, color ISBN $ US & Canada | £ | € • Text by Gordon Hughes
Richard Serra: Vertical and Horizontal Reversals
Up to his untimely death in at age , Jason Rhoades carried out Jason Rhoades was born in Newcastle, a continuous assault on aesthetic conventions and the rules governing California in . He received his MFA from the art world—wryly subverting those very conditions by using them the University of California, Los Angeles in . Later that year, Rhoades joined David as materials for his work. In , Rhoades introduced the world to Zwirner — becoming part of the gallery’s original his PeaRoeFoam, a “brand new product and revolutionary new material” roster of artists — and had his first New York created from whole green peas, fish-bait style salmon eggs, and white solo show. Rhoades’s work has been exhibited virgin-beaded foam. When combined with non-toxic glue, they trans- internationally since the s. His first solo presentation at a European institution was held form into a versatile, fast-drying, and ultimately hard material that at the Kunsthalle Basel in . Other interna- he intended for both utilitarian as well as artistic uses — his detailed step- tional venues which have organized solo shows by-step instructions accompanied do-it-yourself kits complete with include the Van Abbemuseum, Eindhoven, everything needed to make PeaRoeFoam. The Netherlands ; Kunsthalle Nürnberg, Nuremberg, Germany ; Deichtorhallen Rhoades debuted his PeaRoeFoam project at David Zwirner in Hamburg, Germany ; Museum Haus Esters, then located on Greene Street in SoHo in the first of a trilogy of Krefeld, Germany ; Museum Moderner exhibitions that also brought it to Vienna and Liverpool the same year. Kunst Sti²ung Ludwig Wien MUMOK, Following the original “PeaRoeFormance” at the gallery, the artist moved Vienna ; Le Magasin – Centre National d’Art Contemporain de Grenoble, France ; and the equipment to the Museum Moderner Kunst Sti²ung Ludwig Wien the Centro de Arte Contemporáneo de Málaga, MUMOK in Vienna, where he added a makeshi² karaoke studio, Spain . In , Jason Rhoades, Four Roads and then to the Liverpool Biennial, where he continued the production marked the first American museum exhibition inside a giant, inflatable pool the shape and color of a human liver. of the artist’s work, organized by the Institute of Contemporary Art in Philadelphia. It traveled PeaRoeFoam continued to be appropriated for subsequent works, but internationally in to the Kunsthalle Bremen the majority of the le²overs and objects from all three “PeaRoeFormances” in Germany and in to the BALTIC Centre found a new place in Rhoades’s studio. Arranged on shelves covering for Contemporary Art in Gateshead, England. the full length of a large wall, they remained on the location until a²er Museum collections which hold works by the artist include the Centre Georges Pompidou, Paris; the artist’s death. The entirety of the installation, never previously Hamburger Bahnhof – Museum für Gegenwart, shown, was exhibited as part of the comprehensive presentation of the Berlin; Los Angeles County Museum of Art; PeaRoeFoam project at David Zwirner in New York in . Museum of Contemporary Art, Los Angeles; This seminal publication is the first to properly examine and The Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; Tate Gallery, London; situate PeaRoeFoam within Rhoades’s career and to acknowledge its and the Whitney Museum of American Art, importance within the overall framework of his practice. The New York. exhibition at David Zwirner presented many of the individual compo- • nents for the first time since their original installations, and this book Julien Bismuth is an artist and writer currently based in New York. He has published a number discusses and reproduces those initial presentations in depth. Also of texts, including a series of publications included is an abundance of archival documents and photographs, with Devonian Press, which he co-founded with installation views of all shows, as well as the artist’s diagrams and the artist Jean-Pascal Flavien in , as well as an drawings. The publication also features a personal and revealing essay essay for the catalogue Toba Khedoori, published on the occasion of her solo exhibition at David by David Zwirner, who began showing Rhoades’s work in the early s, Zwirner in . new scholarship by Julien Bismuth, and selected interviews from the • Jason Rhoades Oral History project, conceived by Dylan Kenny and David Zwirner opened his eponymous gallery in Lucas Zwirner, who have interviewed over fi²y artists, curators, friends, the SoHo neighborhood of New York in . With locations currently in New York Chelsea collaborators, art historians, and others who intimately knew the and London Mayfair, the gallery represents artist — including curator and art historian Linda Norden. close to fi²y artists and estates. • Lucas Zwirner is a writer and translator. He has contributed to numerous art publications and translated Michael Ende’s Momo into English, which was published by McSweeney’s McMullens in . Jason Rhoades: • Dylan Kenny is a writer and researcher. He is PeaRoeFoam currently a Paul Mellon Fellow at the University of Cambridge. • Linda Norden is an independent curator, writer, and art historian. Norden’s writing has covered an extensive range of artists and critics, including Richard Artschwager, Robert Gober, Eva Hesse, Roni Horn, Pierre Huyghe, Lucy Lippard, Sharon David Zwirner Books Lockhart, Claes Oldenburg, Robert Ryman, and Forthcoming in June Cy Twombly. Hardcover, ½× ¼ in ( .× . cm) pages, color ISBN $ US & Canada | £ | € • Texts by Julien Bismuth and David Zwirner. Contributions by Lucas Zwirner and Dylan Kenny. Interview with Linda Norden
Jason Rhoades: PeaRoeFoam
My works are minimal and reduced, but also maximal. I try to make Beginning in the s, John McCracken them concise, clear statements in three-dimensional form, and also to take – exhibited steadily in the United States them to a breathtaking level of beauty. and abroad, and his early work was included in groundbreaking exhibitions such as Primary — John McCracken Structures at the Jewish Museum, New York and American Sculpture of the Sixties at the Los John McCracken occupies a singular position within the recent history Angeles County Museum of Art . In , of American art, as his work melds the restrained formal qualities of McCracken joined David Zwirner. In , Works from ¡¨ – marked the sixth and most Minimalist sculpture with a distinctly West Coast sensibility expressed comprehensive solo show of the artist’s work through color, form, and finish. He developed his early sculptural work presented at the gallery in New York. McCracken’s while studying painting at the California College of Arts and Cra²s work is held in prominent international collec- in Oakland in the late s and early s. While experimenting with tions, including the Art Gallery of Ontario, Toronto; The Art Institute of Chicago; Castello di increasingly three-dimensional canvases, the artist began to produce Rivoli, Turin; Los Angeles County Museum of Art; objects made with industrial materials, including plywood, sprayed Musée d’art contemporain de Montréal; Musée lacquer, and pigmented resin, creating the highly reflective, smooth sur- d’art moderne et contemporain MAMCO, faces for which he was to become known. Geneva; Museum of Contemporary Art, Los Angeles; The Museum of Modern Art, New York; Published on the occasion of the exhibition of McCracken’s Orange County Museum of Art, Newport Harbor, work at David Zwirner in New York, this catalogue charts the evolution of California; Palais des Beaux-Arts, Brussels; the artist’s diverse oeuvre, encompassing both well-known and lesser- San Francisco Museum of Modern Art; Solomon seen examples of his production from the early s through his death R. Guggenheim Museum, New York; and the Whitney Museum of American Art, New York. in , with a range of sculptures, paintings, and sketches. Featuring • new scholarship by art historian Robin Clark, it includes an interview Robin Clark is Director of the Artist Initiative with the artist by Anne Reeve from , as well as reproductions of at the San Francisco Museum of Modern Art, archival and documentary materials ranging from the artist’s sketches to where she leads interdisciplinary collection research projects that involve long-term collabo- gallery invitation cards, early catalogue covers, historic photographs, rations with participating artists. She is an art and installation views of the exhibition. historian and curator whose scholarship focuses on the intersections of contemporary art and architecture and the conservation of modern materials. She was assistant curator and a contributing author to the Eva Hesse retrospective exhibition and catalogue produced by the San Francisco Museum of Modern Art SFMOMA and Yale University Press, and was curator of the Currents exhibition series at the Saint Louis Art Museum – . Her more recent exhibitions and publications include Automatic Cities: The Architectural Imaginary in Contemporary Art and Phenomenal: California Light, Space, Surface , part of the Getty’s Pacific Standard Time initiative. • Anne Reeve serves as Curatorial Associate at Glenstone. In addition to her work on various exhibitions and publications, she oversees Glenstone’s Oral History Program, conducting interviews to document its institutional history and to enrich the understanding of the artists in the foundation’s collection. Her writing has appeared in Art in America and Art Papers magazine, and she is currently at work on a publication to accompany Glenstone’s upcoming John McCracken: exhibition of works by Fred Sandback. Works from
David Zwirner Books/Radius Books Hardcover, ½× in (. × cm) pages, color, b&w ISBN $ US & Canada | £ | € • Text by Robin Clark. Interview with the artist by Anne Reeve
John McCracken: Works from
One of the most important American artists of the postwar period, Donald Judd was born in Excelsior Springs, Donald Judd has come to define Minimalist art — though he continued Missouri in and died in New York in to strongly object to this categorization throughout his life. His unaffected, . The recipient of many awards including a Guggenheim Fellowship, Judd also wrote straightforward approach to his work and his strong interest in color, and lectured extensively on his art. A survey form, material, and space led him to create striking art objects with exhibition of the artist’s work was organized by a direct physical “presence,” eschewing grand philosophical statements. Tate Modern, London in and traveled to Judd began his practice as a painter in the late s; however, he the K Kunstsammlung Nordrhein-Westfalen, Düsseldorf and the Kunstmuseum Basel. soon introduced three-dimensional elements into the surface of his work. Other important recent exhibitions of the artist’s His first sculptural objects took the form of shallow reliefs, and by work include Donald Judd: Early Work – ¡ , he had begun to create freestanding works that were presented directly which traveled from the Kunsthalle Bielefeld, on the floor and the wall. Throughout his practice, Judd used materials Germany to The Menil Collection, Houston in – ; Donald Judd: Colorist, held at the such as plywood, steel, concrete, Plexiglas, and aluminum and employed Sprengel Museum, Hannover, Germany, commercial fabricators in order to get the surfaces and angles he Kunsthaus Bregenz, Austria, and Musée d’Art desired, creating declaratively simple, fundamental sculptural forms. Moderne et d’Art Contemporain, Nice in This publication documents an exhibition held at David Zwirner in – ; Donald Judd: a good chair is a good chair, a comprehensive exhibition of the artist’s New York in , which brought together twelve identically scaled furniture and related drawings organized aluminum works from the artist’s seminal solo presentation at the by Ikon Gallery, Birmingham, England ; Staatliche Kunsthalle Baden-Baden. That exhibition marked the and Donald Judd: The Multicolored Works first time Judd used colored anodized aluminum in such a large, floor- at the Pulitzer Foundation for the Arts, St. Louis. Permanent installations of the artist’s work mounted format — thus comprising one of his few explorations of color can be seen at Judd Foundation spaces in New on a large scale and providing a focused investigation of one of the York City, at Spring Street, and in Marfa, Texas, key concerns within his practice. Although he had previously examined along with the neighboring Chinati Foundation. the qualities of an open box form, the works created for Baden-Baden In , David Zwirner presented an exhibition of works by Judd, the first gallery presentation of display a distinct systematic approach in determining the interior space this important artist in London in nearly fi²een of each box, which Judd divided vertically in different spatial configura- years and the first significant exhibition of tions, sometimes introducing color through the use of anodized Judd’s work in the UK since his retrospective elements or sheets of Plexiglas in blue, black, or amber. The combina- at Tate Modern, London. • tions of materials, dividers, and colors — which differ from box to Richard Shiff is the Effie Marie Cain Regents box — thus determine the singular nature of each work within a finite Chair in Art at The University of Texas at Austin, number of variable possibilities, each of the boxes being an individual where he directs the Center for the Study of work that represents one possibility within the given parameters. Modernism. His publications include Cézanne and the End of Impressionism , Critical Terms Featuring new scholarship by art historian Richard Shiff, the book’s for Art History co-edited, ; second edition, stunning visual elements are contextualized by such archival materials , Barnett Newman: A Catalogue Raisonné as Judd’s preparatory drawings, as well as an interview with the artist co-authored, , Doubt , Between Sense conducted in by Jochen Poetter. and de Kooning , and Ellsworth Kelly: New York Drawings – ¡ , among others. For books published by David Zwirner, Shiff has contributed essays to Dan Flavin: Series and Progressions and Bridget Riley: The Stripe Paintings ¡ – . • Jochen Poetter is a German art historian, theorist, and curator. Poetter is the former director of several museums, including the Museum Ludwig in Cologne, the Staatliche Kunsthalle Baden- Baden, and the Museum Villa Stuck in Munich.
Donald Judd
David Zwirner/Steidl Hardcover, × ¼ in ( . ×. cm) pages, color ISBN $ US & Canada | £ | € • Text by Richard Shiff. Interview with the artist by Jochen Poetter
Donald Judd
Described by fellow artist Mel Bochner as “one of the first artists to make Dan Flavin was born in in New York City. use of a basically progressional procedure,” influential Minimalist artist In the mid- s, he served in the US Air Force, Dan Flavin was known for his systematic arrangement of color and light. a²er which he returned to New York, where he studied art history at the New School for Social This major monograph was published on the occasion of Dan Flavin: Research and Columbia University. In , he Series and Progressions — the first exhibition of the artist’s work held in had his first solo exhibition at the Judson Gallery, at David Zwirner in New York since the gallery announced its repre- New York. Later that year he began experimenting sentation of Dan Flavin. Featuring over fi²y full-color plates of exemplary with electric light in a series of works called “icons,” which led him to his first work made works made between and , in addition to a comprehensive solely of fluorescent light, the diagonal of May , selection of installation views, archival photographs, and documents, ¡¨ to Constantin Brancusi . Major this publication carefully examines Flavin’s use of progressions and exhibitions of Flavin’s work include those at the serial structures, ideas that were central to his practice throughout his Museum of Contemporary Art, Chicago ; National Gallery of Canada, Ottawa ; career. It also describes how his manipulations of color and light were and the Staatliche Kunsthalle Baden-Baden aspects of his work that not only led to it being characterized as Minimal . In , Dia Art Foundation organized art but came to define and influence Conceptual artistic practices. a traveling retrospective in association with the Dan Flavin: Series and Progressions includes new scholarship by National Gallery of Art, Washington, D. C. In , Dia opened the Dan Flavin Art Institute, noted Flavin scholar and curator Tiffany Bell author of the artist’s cata- which includes a permanent exhibition designed logue raisonné, Anne Rorimer, Richard Shiff, and Alexandra Whitney; by the artist in a former firehouse and Baptist an interview with Dan Graham; and a facsimile of the original catalogue church in Bridgehampton, New York. Flavin’s last from Flavin’s – exhibition alternating pink and ‘gold,’ at the completed work, untitled , occupies the stairwell at West nd Street in New York City Museum of Contemporary Art, Chicago. Additional context is provided in a building formerly used by Dia as an exhibition by a detailed illustrated chronology, which documents historical space. In , the installation of untitled to exhibitions of Flavin’s work. you, Heiner, with admiration and affection was designated as an official Dia site and reinstalled on the premises of the Pinakothek der Moderne, Munich. Flavin died in November in Long Island, New York. • Tiffany Bell, art critic and curator, served as the project director of the Dan Flavin catalogue raisonné, sponsored by the Dan Flavin Estate and Dia Art Foundation. During the s, she was Flavin’s archivist and would go on to curate a number of exhibitions of the artist’s work. Bell is currently the editor of the Agnes Martin catalogue raisonné and co-curator of the Agnes Martin retrospective . • Artist, writer, curator, and art and music critic Dan Graham was born in Urbana, Illinois in . He lives and works in New York, and is a key figure of Conceptual Art. In , he was honored by the American Academy of Arts and Letters in New York. • Anne Rorimer is a freelance curator and independent scholar specializing in American and European art a²er . She was formerly a curator of modern and contemporary art at The Art Institute of Chicago. She has published in various art journals, including Artforum and October, as well as numerous exhibition cata- logues. She is the author of New Art in the Dan Flavin: Sixties and Seventies: Redefining Reality and, more recently, Michael Asher: Kunsthalle Series and Progressions Bern . • Richard Shiff is the Effie Marie Cain Regents Chair in Art at The University of Texas at Austin, where he directs the Center for the Study of Modernism. His publications include Cézanne and the End of Impressionism , Critical Terms for Art History co-edited, ; second edition, , Barnett David Zwirner/Steidl Newman: A Catalogue Raisonné co-authored, , Doubt , Between Sense and de Kooning Hardcover, ¼× in ( . × . cm) , and Ellsworth Kelly: New York Drawings pages, color, b&w, gatefolds – ¡ , among others. ISBN • $ US & Canada | £ | € Alexandra Whitney is the Director of Research & • Exhibitions at David Zwirner, New York. Texts by Tiffany Bell, Anne Rorimer, Richard Shiff, and Alexandra Whitney. Interview with Dan Graham
Dan Flavin: Series and Progressions
Known for sculptures that outline planes and volumes in space using The work of American artist Fred Sandback the humblest of materials, Fred Sandback – was an American – has been exhibited internationally artist whose work is informed by a minimalist artistic vocabulary. since the late s. His first solo shows were held at Galerie Konrad Fischer, Düsseldorf Though Sandback employed metal wire and elastic cord in his earliest and Galerie Heiner Friedrich, Munich, both in works, the artist soon dispensed with these materials and began using while the artist was still a graduate student acrylic yarn to create sculptures that produced perceptual illusions while pursuing his MFA at the Yale School of Art addressing their physical surroundings — the “pedestrian space,” as and Architecture. His work is on permanent display at Dia : Beacon, New York, and was the Sandback called it, of everyday life. Throughout the course of his career, subject of an extensive survey organized in yarn enabled the artist to elaborate on the phenomenological experience by the Kunstmuseum Liechtenstein, Vaduz of space and volume with unwavering consistency and ingenuity. which traveled to the Fruitmarket Gallery, Fred Sandback: Decades is the third in a series of illustrated hardcover Edinburgh and the Neue Galerie am Joanneum, Graz in . In , his work was featured monographs on the artist published by David Zwirner. Documenting in a solo exhibition at the Whitechapel Gallery, the eponymous exhibition held at the gallery in , this award-winning London, and the Museum of Contemporary Art, publication covers a selection of Sandback’s work dating from Denver dedicated its entire building to a solo to , thus spanning five decades of production. With ninety reproduc- exhibition of his work. David Zwirner has shown the artist’s work since . Since then, tions in color, this beautifully produced catalogue includes a fully the gallery has presented five solo shows of illustrated chronology with selected biographical and bibliographical Sandback’s work, including a exhibition material, as well as new scholarship on Sandback by art historian of important sculptures and drawings from each James Lawrence. decade of his career in New York and a exhibition at David Zwirner’s London location. In , the Kunstmuseum Winterthur hosted the first major retrospective of Sandback’s drawings, curated by Dieter Schwarz, and which subsequently traveled to the Josef Albers Museum, Bottrop and the Museum Wiesbaden. Sandback’s work is represented in numerous public collections, including The Art Institute of Chicago; Centre Georges Pompidou, Paris; Museum für Moderne Kunst, Frankfurt; The Museum of Modern Art, New York; National Gallery of Art, Washington, D. C.; Pinakothek der Moderne, Munich; and the Solomon R. Guggenheim Museum, New York. • James Lawrence is a critic and historian specializing in postwar and contemporary art. He is a frequent contributor to The Burlington Magazine. Essays by Lawrence are included in such publications as Richard Serra: Drawings — Work Comes Out of Work and Blinky Palermo: Retrospective ¡ – ¢¢ .
Fred Sandback: Decades
David Zwirner/Radius Books Hardcover, × in ( . × . cm) pages, color ISBN $ US & Canada | £ | € • Text by James Lawrence
Fred Sandback: Decades
For over five decades, On Kawara created paintings, drawings, books, Since , On Kawara’s work has been repre- and recordings that examined chronological time and its function as a sented by David Zwirner. In addition to Date measure of human existence. His artistic practice was characterized Paintings in New York and ¨¡ Other Cities , other gallery solo exhibitions include One by its meditative approach to concepts of time, space, and consciousness. Million Years , Paintings of Years , He began making his now signature date paintings known as the Today Reading One Million Years Past and Future , series on January , in New York City and continued to produce and I READ ¡¡ – . In , a critically them in different parts of the world up until his death. acclaimed, career-spanning retrospective of the artist’s work, On Kawara — Silence, was orga- On Kawara: Date Paintings in New York and ¨¡ Other Cities nized by the Solomon R. Guggenheim Museum was published on the occasion of the artist’s fi²h solo exhibition at David in New York. Work by Kawara is represented Zwirner in New York in , which comprised a seminal presentation in museum collections internationally, including of over one hundred and fi²y of Kawara’s renowned date paintings from the Centre Georges Pompidou, Paris; Hara Museum of Contemporary Art, Tokyo; to . On view at the gallery was a comprehensive selection Kunstmuseum Basel; The Metropolitan Museum of works painted in New York in one gallery, while a second exhibition of Art, New York; Moderna Museet, Stockholm; space presented works painted in almost all other cities visited by Museum of Contemporary Art, Tokyo; The the artist. This large-scale, beautifully designed catalogue provides a Museum of Modern Art, New York; National Gallery of Art, Washington, D. C.; The National comprehensive overview of forty-five years of date paintings and features Museum of Modern Art, Tokyo; and Tate one hundred and ninety color illustrations. The first part of the catalogue Gallery, London. A long-term installation of the includes the complete series of paintings created in New York, while the artist’s date paintings is on view at Dia:Beacon, second part focuses on a selection of works completed in various cities New York. • around the world. Also included are texts by astronaut Dr. Edgar Mitchell, Dr. Edgar Mitchell is an American pilot and artist and writer Lei Yamabe, and writer Lucas Zwirner. astronaut. He was the pilot of the lunar module of Apollo , and the sixth man to walk on the Moon, spending nine hours on the lunar surface on February , . During his years in the Navy, he gained a Bachelor of Science degree in aeronautical engineering from the US Naval Postgraduate School and a Doctor of Science degree in Aeronautics and Astronautics from the Massachusetts Institute of Technology. He also holds honorary doctorates from the New Mexico State University, the University of Akron, Carnegie Mellon University, and the Embry- Riddle Aeronautical University. • Lei Yamabe is a fictional writer created as an artistic project by Yuki Okumura, inspired by On Kawara’s work, for essays that explore the uncertainty of our bodily existence. Born in in Aomori, Japan, Okumura is an artist based in Tokyo. His work has been included in numerous solo and group exhibitions at institu- tions worldwide, including the Museum of Contemporary Art, Taipei, Taiwan and ; Aomori Museum of Art, Japan and ; Irish Museum of Modern Art, Dublin ; Tokyo Opera City Art Gallery ; and the Grey Art Gallery, New York . • Lucas Zwirner is a writer and translator. He graduated from Yale University, where he studied Philosophy and Comparative Literature, in . He has contributed to numerous art publications, On Kawara: including the David Zwirner catalogue Raymond Pettibon: To Wit in , and translated Michael Date Painting(s) in New York Ende’s Momo into English, which was illustrated by Marcel Dzama and published by McSweeney’s and Other Cities McMullens in . He is currently at work on an extensive oral history project about Jason Rhoades.
David Zwirner/Ludion Hardcover, ¾× in ( .×. cm) pages, color, b&w ISBN $ US & Canada | £ | € • Texts by Dr.Edgar Mitchell, Lei Yamabe, and Lucas Zwirner
On Kawara: Date Painting(s) in New York and Other Cities
Drawing was a fundamental, stand-alone component of Alice Neel’s Alice Neel was born in in Merion Square, practice, persistently pursued alongside painting, for which she is Pennsylvania and died in in New York. primarily known. As a medium, it enabled her to capture the immediacy In , she enrolled in the fine art program at the Philadelphia School of Design for Women now of her visual experience — whether in front of her sitters or on the city Moore College of Art and Design and graduated streets — while also affording her a greater sense of experimentation and in . Although she showed sporadically early informality. Neel chose the subjects for both her paintings and drawings in her career, from the s onwards her work from her family, friends, and a broad variety of fellow New Yorkers: was exhibited widely in the United States. In , she had her first retrospective at the Whitney writers, poets, artists, students, textile salesmen, cabaret singers, and Museum of American Art, New York. Since , homeless bohemians. Through her penetrative, forthright, and at times The Estate of Alice Neel has been represented humorous touch, her work subtly engaged with political and social issues, by David Zwirner. In , Alice Neel: Painted including gender, racial inequality, and labor struggles. Not initially Truths, which thematically surveyed over sixty paintings spanning fi²y-five years, received wide intended for public view, her drawings reveal a more private and intimate critical acclaim. It was organized by the Museum nature than her paintings and as such reflect her deep sensitivity to of Fine Arts, Houston and traveled to the these subjects. Yet they are far from sentimental and she readily stripped Whitechapel Gallery, London and Moderna her sitters of their masks, foregrounding rather the incongruous, the Museet Malmö, Sweden. In , a major presen- tation of the artist’s watercolors and drawings, awkward, and, at times, the comical. Alice Neel: Intimate Relations, was on view at the Alice Neel: Drawings and Watercolors ¢ – ¢ presents an Nordiska Akvarellmuseet in Skärhamn, Sweden. illuminating overview of the variety of themes and styles employed by Work by the artist is represented in permanent the artist across five decades. Published to coincide with the exhibi- collections that include The Art Institute of Chicago; Hirshhorn Museum and Sculpture tion at David Zwirner in New York, the book contains over sixty color Garden, Washington, D. C.; The Metropolitan plates organized thematically and includes works selected from through- Museum of Art, New York; Moderna Museet, out her career. In addition, it features essays by the independent curator Stockholm; Museum of Contemporary Art, and writer Jeremy Lewison and the award-winning novelist Claire Los Angeles; Museum of Fine Arts, Houston; The Museum of Modern Art, New York; National Messud, as well as a selected chronological biography and illustrated Gallery of Art, Washington, D. C.; Philadelphia list of works. Museum of Art; Tate Gallery, London; and the Although Neel’s influences and style changed from decade to decade, Whitney Museum of American Art, New York. • her profound commitment to her subjects and to her art remained Jeremy Lewison is an independent curator, consistent over the course of her career, and although the appearance writer, and lecturer, and since has acted as of many of her sitters changed over the years, there is a timeless quality to the advisor to The Estate of Alice Neel. He began the works. As Claire Messud notes in her reflections on the artist in the his career in the art world in as Curator exhibition catalogue, “The complex emotions Neel evokes in her art are of Kettle’s Yard, University of Cambridge. In , he joined Tate Gallery, London as an Assistant nothing less than the contradictions of life itself.” Keeper in the Modern Collection, rising to the position of Director of Collections in . In addition to having expertise in British art of the interwar period, he became Tate’s specialist in postwar American art, and was responsible for publications and exhibitions on the works of Jackson Pollock, Sol LeWitt, Brice Marden, and Barnett Newman. • Claire Messud is an award-winning novelist. Her most recent novel, The Woman Upstairs, was listed as a Best Book of the Year by the Huffington Post, Chicago Tribune, and Boston Globe, amongst others. Her third book, The Emperor’s Children, was named one of the Best Books of the Year by The New York Times, Los Angeles Times, and Washington Post. Her first novel, When the World Was Steady, and her book of novellas, The Hunters, Alice Neel: were both finalists for the PEN / Faulkner Award; and her second novel, The Last Life, was Drawings and Watercolors selected as a Best Book of the Year by Publishers Weekly and an Editor’s Choice at The Village Voice. All four novels were Notable Books of the Year by The New York Times. Messud has been awarded Guggenheim and Radcliffe Fellowships and the Strauss Living Award from the American Academy of Arts and Letters.
David Zwirner Books Hardcover, × in (.×. cm) pages, color, b&w ISBN $ US & Canada | £ | € • Texts by Jeremy Lewison and Claire Messud
Alice Neel: Drawings and Watercolors
The Swedish artist couple Mamma Andersson and Jockum Nordström Mamma Andersson was born in in Luleå, have been at the forefront of contemporary figurative art since the Sweden. She studied from to at late s. Updating Vuillard for a post-Hitchcock age, Andersson paints the Royal University College of Fine Arts in Stockholm, where she continues to live and work. beguilingly eerie interiors and landscapes. Nordström’s detailed collages, Since , Andersson’s work has been repre- watercolors, and drawings occupy a more folkloric realm peopled by sented by David Zwirner. She has had three solo historical and contemporary characters enacting sexual and social roles shows at the gallery in New York, including her across broad narrative panoramas. United States debut in . In , Andersson’s work was the subject of a solo exhibition at the Originally published on the occasion of the exhibition at David Museum Haus Esters in Krefeld, Germany. She Zwirner in New York, Who is sleeping on my pillow marked the first time had her first museum solo show in the United Andersson and Nordström presented their work in concurrent solo shows. States at the Aspen Art Museum, Colorado in , The book showcases their work from the late s to in over two and her first solo exhibition in Ireland at the Douglas Hyde Gallery, Dublin in . In , hundred full-color plates, as well as numerous reproductions of family a critically acclaimed, mid-career survey of snapshots and source material. Also included are texts by Paolo Colombo her work was organized by the Moderna Museet, and Anders Krüger, a poem by Stig Claesson, and an interview with Stockholm, which traveled to the Kunsthalle Nordström by Marcel Dzama. As Colombo notes in his accompanying Helsinki and the Camden Arts Centre, London. Work by the artist is represented in museum essay, “The miracle is that Jockum and Mamma spent more than half collections that include the Dallas Museum of of their life together, and that over the years their complicity has guided Art; Hammer Museum, Los Angeles; Magasin them into the artists they are, each the complement and the best Stockholm Konsthall; Museum of Contemporary sounding board for the other.” The publication was reissued to coincide Art, Los Angeles; The Museum of Modern Art, New York; and the Moderna Museet, Stockholm. with Nordström’s exhibition, For the insects and the hounds, at • David Zwirner in London, and Andersson’s presentation, Behind Jockum Nordström was born in in the Curtain, at the gallery in New York. Stockholm, where he continues to live and work. In , the artist joined David Zwirner, where he had his first United States solo show that same year. In , a major survey of the artist’s work was on view at the Lille Métropole, musée d’art moderne, d’art contemporain et d’art brut in Villeneuve d’Ascq, France, before it traveled to the Camden Arts Centre in London, making it the first solo exhibition of his work in the city. Other recent solo shows include those organized by the Swedish Institute, Paris ; Douglas Hyde Gallery, Dublin ; and the Moderna Museet, Stockholm . Work by the artist is represented in museum collections that include the Centre Georges Pompidou, Paris; Cleveland Museum of Art, Ohio; Hammer Museum, Los Angeles; Magasin Stockholm Konsthall; Moderna Museet, Stockholm; The Museum of Modern Art, New York; and the Stedelijk Museum voor Actuele Kunst S. M. A. K., Ghent. • Born in Stockholm, Stig Claesson – was an award-winning Swedish writer, artist, and illustrator. He published more than eighty books during his lifetime, several of which were translated into English, with some adapted for television and theater. His Walking in the Sun from was made into a film. • Italian curator Paolo Colombo is an advisor to the Istanbul Museum of Modern Art. From Who is sleeping on my pillow: to , he was Director of the Centre d’Art Contemporain in Geneva, and from to , Mamma Andersson he was Curator of the Museo Nazionale delle Arti del XXI Secolo in Rome. and Jockum Nordström • Marcel Dzama was born in in Winnipeg, Canada, and lives in Brooklyn, New York. Since , his work has been represented by David Zwirner, and he has exhibited widely both in the United States and internationally. David Zwirner Books • . Reprint edition Anders Krüger is an artist, professor, and Hardcover, ½× ½ in ( . ×. cm) curator based in Sweden. He was Director of the pages, color, b&w Grafikens Hus in Mariefred, Sweden from ISBN to . $ US & Canada | £ | € • Texts by Paolo Colombo and Anders Krüger. Interview with Nordström by Marcel Dzama. Poem by Stig Claesson
Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström
With a career spanning almost three decades, Kerry James Marshall Chicago-based artist Kerry James Marshall was is well known for his complex and multilayered portrayals of youths, born in in Birmingham, Alabama. He studied interiors, nudes, housing estate gardens, land- and seascapes, all of at the Otis Art Institute in Los Angeles, earning his BFA in and an honorary doctorate in . which synthesize different traditions and genres while seeking to counter The artist has exhibited widely since the late stereotypical representations of black people in society. Working across s and early s. In the spring of , the various mediums, from paintings and comic-style drawings to sculptural Museum of Contemporary Art Chicago will host installations, photographs, and videos, the artist conflates actual and the first major American museum survey of Marshall’s work, specially focusing on his paint- imagined events from African-American history, integrating a range ings from the past thirty-five years. In , of stylistic influences to address the limited historiography of black art. Kerry James Marshall: Painting and Other Stuff Produced on the occasion of Marshall’s first exhibition at David marked the most comprehensive presentation of Zwirner in London in and designed by JNLDesign in Chicago, his work in Europe to date, which debuted at the Museum van Hedendaagse Kunst Antwerpen Look See features beautiful reproductions of every painting on view in the in Antwerp. In , it traveled to the Kunsthal show as well as numerous details, preparatory drawings, installation Charlottenborg in Copenhagen, and was photographs, new scholarship by Robert Storr and Hamza Walker, and co-hosted by two venues in Spain, the Fundació a conversation between the artist and Angela Choon, a Senior Partner at Antoni Tàpies in Barcelona and the Museo Nacional Centro de Arte Reina Sofía in Madrid. the gallery. As suggested by the show’s title, these portraits use the Other prominent institutions which have etymological differences between looking and seeing as their point of presented solo shows include the National departure, featuring subjects whose dissociated stares seem as defiant as Gallery of Art, Washington, D. C. ; Secession, they are mystifying. In keeping with his signature approach, Marshall Vienna ; Vancouver Art Gallery ; San Francisco Museum of Modern Art ; Wexner has painted his figures in strikingly opaque black pigments, both Center for the Arts, Columbus, Ohio ; fashioning and abstracting their presences in order to assimilate the Camden Arts Centre, London ; The Studio limitations and contradictions of style, subject, and chronology inherent Museum in Harlem, New York ; Museum in art-historical narratives written from a white, Western perspective. of Contemporary Art Chicago ; The Renaissance Society at the University of Chicago Taken all together, the range of materials included in Look See constitutes ; and the Brooklyn Museum, New York . a vibrant and comprehensive portrait of Marshall’s original and ever- His work is featured in museum collections evolving practice. worldwide, including The Art Institute of Chicago; Los Angeles County Museum of Art; The Metropolitan Museum of Art, New York; Museum of Contemporary Art Chicago; The Museum of Modern Art, New York; National Gallery of Art, Washington, D. C.; San Francisco Museum of Modern Art; The Studio Museum in Harlem, New York; Walker Art Center, Minneapolis; and the Whitney Museum of American Art, New York. • Robert Storr is the Stavros Niarchos Foundation Dean of the Yale School of Art. He was formerly Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art, New York, where in he co-organized From Bauhaus to Pop: Masterworks Given by Philip Johnson, amongst numerous exhibitions. In , he was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. From to , he was Director of Visual Art for the Venice Biennale, the first American invited to assume that position. • Hamza Walker is Director of Education and Associate Curator for the Renaissance Society, the non-collecting museum of contempo- Kerry James Marshall: rary art at the University of Chicago. He holds a BA in Art History from the University of Chicago Look See and is the recipient of the Ordway Prize, the Walter Hopps Award for Curatorial Achievement, and the Norton Curatorial Grant. In , The New York Times named Walker one of the seven most influential curators in the United States. • Angela Choon joined David Zwirner in as a Director and is currently a Senior Partner David Zwirner Books and based in the gallery’s London location. Forthcoming in July Throughout the past two decades, she has over- Hardcover, × in ( . × . cm) seen numerous shows at the gallery and pages, color collaborated on many major museum exhibitions ISBN throughout the United States and Europe and $ US & Canada | £ | € their accompanying publications. • Texts by Robert Storr and Hamza Walker. Interview with the artist by Angela Choon
Kerry James Marshall: Look See
The richly textured, seductive paintings of German artist Neo Rauch are Neo Rauch was born in in Leipzig, where marked by a “distinctive Pop-Surrealist-Social Realist style,” as described he continues to live and work, and studied at the by The New York Times art critic Roberta Smith in . Incorporating Hochschule für Grafik und Buchkunst. Since , Rauch’s work has been represented disjunctive references to disparate eras, techniques, and aesthetics, they by David Zwirner. At the Well marked his sixth solo evoke “avant-garde theater stage sets from an earlier time . . . both buoyant exhibition at the gallery in New York. His work and tamped down, comic and earnest.” In many of his compositions, has been the subject of solo exhibitions at human figures engaged in manual labor or indeterminable tasks work prominent institutions internationally, most recently in at BOZAR – Centre for Fine Arts against backdrops of mundane architecture, industrial settings, or bizarre in Brussels. In , his first major museum and o²en barren landscapes. Scale is frequently arbitrary and non- survey was co-hosted by the Museum der perspectival, which adds to an overall dreamlike atmosphere; spatial Bildenden Künste Leipzig and the Pinakothek der relationships seem to construct an imaginary realm all of its own, one Moderne, Munich. A version of this survey was shown at the Zachęta National Gallery of Art, which both defies logic and feels somehow familiar. Warsaw in . Museum collections which hold At the Well, produced to coincide with the exhibition of Rauch’s works by the artist include the Gemeentemuseum, new works at David Zwirner in New York, brings together small and large The Hague; Hamburger Bahnhof – Museum format paintings that expand the artist’s unique iconography of eccentric für Gegenwart, Berlin; Kunstmuseum Wolfsburg, Germany; The Metropolitan Museum of Art, New figures, animals, and hybrids within vaguely familiar but imaginary York; Museum der Bildenden Künste Leipzig; settings. This oversized catalogue — designed in close collaboration with Museum Ludwig, Cologne; The Museum of the artist — is anchored by sixteen stunning plates and numerous Modern Art, New York; Pinakothek der Moderne, Ä:Ä details that bring to life, and give viewers intimate access to, these Munich; Solomon R. Guggenheim Museum, New York; and the Stedelijk Museum, Amsterdam. compelling compositions. Themes of rebirth and new beginnings • abound: Rauch consistently creates characters who appear to be in the Sir Norman Rosenthal is an independent process of transformation, literally on the brink of renaissance. These curator and art historian. He previously served figures, though squarely centered in his paintings, o²en have the as Exhibitions Secretary at the Royal Academy of Arts in London from to . He was appearance of being part of still lifes: collaged, anachronistic elements instrumental in curating several groundbreaking belonging to different time zones and eras offer a contemporary take exhibitions, including A New Spirit of Painting on the storied tradition of visual and psychological pastiche. co-organized with Nicholas Serota and Christos At the Well features an illuminating essay by art historian and curator M. Joachimides in that surveyed the current state of painting at the time; and which amongst Sir Norman Rosenthal, who presents a careful reading of Rauch’s new others, brought the work of Anselm Kiefer and work, including its relationship to fairy tales; the influence of the German Georg Baselitz to the forefront. Rosenthal also Democratic Republic on his development as an artist in the s; and curated the highly controversial group exhibition the overarching sense of alienation that is present within his narratives. Sensation in that introduced the Young British Artists to an international audience. The book also includes a reprint of the classic Brothers Grimm fairy tale “The Young Giant,” specifically chosen by Rosenthal to further expand his analysis.
Neo Rauch: At the Well
David Zwirner Books Hardcover, × ½ in ( . × . cm) pages, color ISBN $ US & Canada | £ | € • Text by Norman Rosenthal
Neo Rauch: At the Well
Limning a dizzying array of topics with his distinctive combinations of Born in in Tucson, Arizona, and now image and text, Raymond Pettibon has created a vocabulary of characters based in New York, Raymond Pettibon graduated and symbols that reappear consistently if enigmatically across his with a degree in economics from the University of California, Los Angeles in . Around oeuvre, ranging from baseball players, atomic bombs, and railway trains the same time, he joined his brother in the punk to the cartoon Gumby. But the most poetic and revealing of Pettibon’s band Black Flag and contributed artwork for symbols may be the surfer, the solitary longboarder challenging a massive their album covers, flyers, and t-shirts, as well as wave. In his surfer works, viewers ride along with a counterculture for their label, SST Records. His work has been exhibited widely throughout the United existentialist hero who perhaps is the artist’s nearest proxy. States and abroad, at venues including the This revised and expanded edition of Raymond Pettibon: Surfers Kunstmuseum Luzern, Lucerne, Switzerland – , the first printing of which sold out almost immediately upon ; Kestnergesellscha², Hanover ; publication in , features twenty additional works, as well as new Kunsthalle Wien, Vienna ; Centro de Arte Contemporáneo de Málaga, Spain ; color separations and jacket design. Nearly all the works included in this Museum of Contemporary Art San Diego, La Jolla, volume depict an ocean roiling with chaotic swells, accompanied by non California ; and the Whitney Museum sequiturs, quotations, and fragments of poetry in the artist’s handwriting. of American Art, New York . In , his first Organized chronologically, the publication traces Pettibon’s prolific American museum presentation was organized by The Renaissance Society at the University output of his surfer series, from early small-scale monochrome India ink of Chicago in collaboration with the Philadelphia drawings to numerous examples from the s when the artist intro- Museum of Art, and traveled to The Drawing duced color, culminating with his recent large-scale works, some of Center, New York and the Museum of which were executed directly on a wall. Rounding out the publication Contemporary Art, Los Angeles. Pettibon’s work is held in the permanent collections of is a poetic meditation by the writer Carlo McCormick, which captures the Centre Georges Pompidou, Paris; Hamburger the essence of Pettibon’s surfing works: “Riddled with enigma, Raymond Bahnhof – Museum für Gegenwart, Berlin; The Pettibon’s art speaks little about himself the artist, preferring rather to Israel Museum, Jerusalem; San Francisco address more central questions on the nature of self, but he tells us this, Museum of Modern Art; Tate Gallery, London; and the Whitney Museum of American Art, ‘Some things sea foam, for instance cannot be drawn at all, but only New York. surfed,’ or again, ‘All this must be either surfed or painted.’ ” • Carlo McCormick is a New York art critic and curator, and has been the author of numer- ous publications, monographs, and catalogues on contemporary art and artists. His writing has appeared in magazines and journals such as Aperture, Art in America, Artforum, ARTnews, Camera Austria, Spin, Tokion, and Vice, and he serves as Senior Editor of PAPER magazine. McCormick has curated exhibitions for promi- nent institutions including The Bronx Museum of the Arts, Center for Photography at Woodstock, and the Queens Museum of Art. In , he organized The Downtown Show: The New York Art Scene, ¢ – , a major survey exhibition held at New York University’s Grey Art Gallery and Fales Library. It was awarded first place for the “Best Thematic Show in New York City” by the US Art Critics Association.
Raymond Pettibon: Surfers
David Zwirner Books/Venus Over Manhattan . Reprint edition forthcoming in June Softcover, ½× in ( .×. cm) pages, color ISBN $ . US & Canada | £ | € • Foreword by Adam Lindemann. Text by Carlo McCormick
Raymond Pettibon: Surfers
Raymond Pettibon’s work embraces a wide spectrum of American “high” Born in in Tucson, Arizona, and now and “low” culture, from the deviations of marginal youth to art history, based in New York, Raymond Pettibon graduated literature, sports, religion, politics, and sexuality. Rich in detail, his ob- with a degree in economics from the University of California, Los Angeles in . Around sessively worked drawings take, as their point of departure, the Southern the same time, he joined his brother in the punk California punk-rock culture of the late s and s and the do-it- band Black Flag and contributed artwork for yourself aesthetic of album covers, comics, concert flyers, and fanzines their album covers, flyers, and t-shirts, as well as that characterized the movement — but they have come to occupy their for their label, SST Records. His work has been exhibited widely throughout the United own genre of potent and dynamic artistic commentary. His subjects States and abroad, at venues including the have included political figures and historical events throughout the years Kunstmuseum Luzern, Lucerne, Switzerland and with mounting intensity since September , . ; Kestnergesellscha², Hanover ; Raymond Pettibon: Here’s Your Irony Back includes full-color, Kunsthalle Wien, Vienna ; Centro de Arte Contemporáneo de Málaga, Spain ; striking images of Ronald and Nancy Reagan, J. Edgar Hoover, both Bush Museum of Contemporary Art San Diego, La Jolla, presidents, the Kennedys, Hitler, scenes from the Vietnam War and pro- California ; and the Whitney Museum test movements, wars in Iraq and Afghanistan, the prisoner abuse of Abu of American Art, New York . In , his first Ghraib, President Obama, and Osama bin Laden. As artfully described American museum presentation was organized by The Renaissance Society at the University by art historian Benjamin H. D. Buchloh in his essay for the book, of Chicago in collaboration with the Philadelphia Pettibon’s works from this period engage the recurring tropes of the Museum of Art, and traveled to The Drawing day, from caricature, sleaze, and pop, to graffiti and patriotism, engaging Center, New York and the Museum of universal issues with a tone that is at turns desperate, hilarious, ironic, Contemporary Art, Los Angeles. Pettibon’s work is held in the permanent collections of brutal, or tragic. Brought together here, the images in this book serve to the Centre Georges Pompidou, Paris; Hamburger capture the power and urgency of Pettibon’s original graphic endeavor. Bahnhof – Museum für Gegenwart, Berlin; The Israel Museum, Jerusalem; San Francisco Museum of Modern Art; Tate Gallery, London; and the Whitney Museum of American Art, New York. • Benjamin H. D. Buchloh has been the Andrew W. Mellon Professor of Modern Art at Harvard University since . He is internationally recognized as one of the most important scholars of twentieth century art. Buchloh received his PhD from the City University of New York in , and has since published widely on European and American artists including Gerhard Richter, Hans Haacke, and Andy Warhol. He is the co-editor of the art journal October, and he was awarded the Golden Lion Award for Contemporary Art History and Criticism at the Venice Biennale in . He is also the recipient of numerous other grants, including Getty, CASVA, and Lehman Foundation fellowships, and an elected member of the American Academy of Arts and Sciences.
Raymond Pettibon: Here’s Your Irony Back, Political Works
David Zwirner/Hatje Cantz/Regen Projects Hardcover, ½× ½ in (.× . cm) pages, color ISBN $ US & Canada | £ | € • Text by Benjamin H.D.Buchloh
Raymond Pettibon: Here’s Your Irony Back, Political Works
In the summer of , Raymond Pettibon took over one of David Born in in Tucson, Arizona, and now Zwirner’s gallery spaces in New York, transforming the high-ceilinged, based in New York, Raymond Pettibon graduated garage-like white cube into his studio in order to prepare a show of with a degree in economics from the University of California, Los Angeles in . Around drawings and collages within — and sometimes directly on — its walls. the same time, he joined his brother in the punk Titled To Wit, evoking the Middle English expression that has come band Black Flag and contributed artwork for to express a certain formality today and is defined as “namely,” or “that is their album covers, flyers, and t-shirts, as well as to say,” the exhibition gave new meaning to the term “site specific,” for their label, SST Records. His work has been exhibited widely throughout the United featuring vibrant, gestural works Pettibon created in conversation with States and abroad, at venues including the his surroundings that operated as a sort of archive, both product and Kunstmuseum Luzern, Lucerne, Switzerland record of his relationship to that space and time. Unified by their bold, ; Kestnergesellscha², Hanover ; vivid lines and unconventional framing, they feature allusions to a wide Kunsthalle Wien, Vienna ; Centro de Arte Contemporáneo de Málaga, Spain ; spectrum of American “high” and “low” culture, from violence, humor, Museum of Contemporary Art San Diego, La Jolla, and sex to literature, youth, art history, and sports — embodying the California ; and the Whitney Museum artist’s signature mix of social and political commentary, diary entry, of American Art, New York . In , his first and automatic drawing. American museum presentation was organized by The Renaissance Society at the University This publication, presenting large color plates of the works created of Chicago in collaboration with the Philadelphia over that summer by Pettibon, who also produced an original drawing Museum of Art, and traveled to The Drawing for its sturdy cardboard cover, explores the intricate relationship between Center, New York and the Museum of image and language that has long fascinated the artist. Just as the works Contemporary Art, Los Angeles. Pettibon’s work is held in the permanent collections of in the exhibition existed at once as art and document, so too does the the Centre Georges Pompidou, Paris; Hamburger book itself have the he²y, physical presence of a work of art. Extensive Bahnhof – Museum für Gegenwart, Berlin; The installation views capture the dynamic combination of visual imagery Israel Museum, Jerusalem; San Francisco and text that has come to characterize Pettibon’s practice, and a selection Museum of Modern Art; Tate Gallery, London; and the Whitney Museum of American Art, of gritty black-and-white photographs by Andreas Laszlo Konrath offers New York. an intimate glimpse into the artist’s working process. Context is provided • by Lucas Zwirner, who accompanied the artist throughout this period Lucas Zwirner is a writer and translator. He and contributed the book’s essay, “A Month with Raymond.” As Zwirner graduated from Yale University, where he studied Philosophy and Comparative Literature, in . describes it, the show functioned “as an essayistic whole held together He has contributed to numerous art publications, by imaginative leaps and subtle connections which Raymond has including the David Zwirner catalogue On Kawara: le² unexplained and uninterpreted.” That perspective is rounded out in Date Paintings in New York and ¨¡ Other Cities an interview with the artist by Kim Gordon, a visual artist and musician, in , and recently translated Michael Ende’s Momo into English, which was illustrated who first encountered Pettibon’s work in the early s in Los Angeles. by Marcel Dzama and published by McSweeney’s McMullens in . He is currently at work on an extensive oral history project about Jason Rhoades. • Visual artist, musician, and curator Kim Gordon, founding member of the post-punk experimental rock band Sonic Youth, was born in in Rochester, New York, raised in Los Angeles, and is currently based in New York, where she is represented by Gallery. Since graduating with a BFA from the Otis College of Art & Design in California, she has exhibited at international venues including the Gagosian Gallery in Los Angeles, South London Gallery, and White Columns and Reena Spaulings, both in New York. • British photographer Andreas Laszlo Konrath studied art at Amersham College and went Raymond Pettibon: on to earn a degree in fine art at London Guildhall University, Whitechapel. His early interests To Wit in punk music and skateboarding guided him to document the youth culture surrounding him, initially in the London suburbs and more recently in New York. In , Konrath and Brian Paul Lamotte founded Pau Wau Publications, which produces limited edition zines and artist books.
David Zwirner Hardcover, ¼× ½ in ( . × . cm) pages, color, b&w ISBN $ US & Canada | £ | € • Text by Lucas Zwirner. Interview with the artist by Kim Gordon. Photographs by Andreas Laszlo Konrath
Raymond Pettibon: To Wit
Over the past decade, Jordan Wolfson has become known for his Jordan Wolfson was born in in New York, thought-provoking works in a wide range of media, including video, and he is currently based between New York and sculpture, installation, photography, and performance. He pulls Los Angeles. In , he received his BFA in sculpture from the Rhode Island School of Design. intuitively from the world of advertising, the Internet, and the technology Prominent institutions which have hosted solo industries to produce ambitious and enigmatic narratives. However, shows include the Stedelijk Museum voor Actuele instead of simply appropriating found material, the artist creates his own Kunst S. M. A. K., Ghent ; Chisenhale unique content, which frequently revolves around a series of invented, Gallery, London ; Kunsthalle Wien, Vienna ; REDCAT Roy and Edna Disney / CalArts animated characters. Theater, Los Angeles ; Kunstsammlung This artist’s book is the product of close collaboration between Nordrhein-Westfalen, Düsseldorf ; CCA Wolfson and the book designer Joseph Logan. Initially conceived to doc- Wattis Institute for Contemporary Arts, San ument the artist’s exhibition at David Zwirner in New York—his first Francisco ; Swiss Institute of Contemporary Art, New York ; Galleria d’Arte Moderna with the gallery, debuting new sculptural work, a critically acclaimed e Contemporanea di Bergamo, Italy ; and video, and a much-discussed animatronic sculpture — the publication Kunsthalle Zürich . Work by Wolfson is ultimately exists as a hybrid between an exhibition catalogue and a held in public collections worldwide, including stand-alone expression of Wolfson’s vision. Featuring a dynamic layout the Fondazione Sandretto Re Rebaudengo, Turin; Galleria d’Arte Moderna e Contemporanea di and large color plates, the book is anchored by extensive photo docu- Bergamo, Italy; Magasin Stockholm Konsthall; mentation of Wolfson’s bewitching Female figure , which combines Museum of Contemporary Art Chicago; Museum elements of installation and performance in the figure of a curvaceous, Ludwig, Cologne; Stedelijk Museum voor Actuele scantily clad woman covered in dirt marks and wearing a witch mask. Kunst S. M. A. K., Ghent; and the Whitney Museum of American Art, New York. Presented are photographs by Andreas Laszlo Konrath, who documented • many aspects of the exhibition, including behind-the-scenes images of British photographer Andreas Laszlo Konrath its installation. Also included are reproductions of Wolfson’s new series studied art at Amersham College and went of wall-mounted sculptures comprised of bumper stickers overlaid on on to earn a degree in fine art at London Guildhall University, Whitechapel. His early interests inkjet prints, candid photographs of the artist taken by Gaea Woods, and in punk music and skateboarding guided him to a text by the artist providing context for the visual material. document the youth culture surrounding him, initially in the London suburbs and more recently in New York. In , Konrath and Brian Paul Lamotte founded Pau Wau Publications, which produces limited edition zines and artist books. • Joseph Logan is a New York-based designer. His clients have included renowned international galleries and museums including The Museum of Modern Art, New York; Moderna Museet, Stockholm; and the Musée des Arts Décoratifs, Paris. • Gaea Woods is a Los Angeles-based artist and photographer. A²er studying fine art at Parsons School of Art & Design in Paris and obtaining a degree in photography at the Rhode Island School of Design, Woods worked in New York, San Francisco, and Los Angeles in commercial pho- tography. She is a two-time recipient of the Elizabeth Greenshields Foundation Grant, and an image from her latest series, Los Angeles Artists and Their Cars, recently won first place in the Theo Westenberger Estate Spring Photography Contest. Jordan Wolfson: California
David Zwirner Books Forthcoming in June Softcover, ½× in ( . × cm) pages, illustrated throughout ISBN $ US & Canada | £ | € • Text by Jordan Wolfson. Photographs by Andreas Laszlo Konrath and Gaea Woods
Jordan Wolfson: California
This book, which sold out almost immediately upon publication, is a Jordan Wolfson was born in in New York, reprint of the catalogue produced on the occasion of Wolfson’s – and he is currently based between New York and exhibitions at REDCAT Roy and Edna Disney/CalArts Theater in Los Los Angeles. In , he received his BFA in sculpture from the Rhode Island School of Design. Angeles and the Stedelijk Museum voor Actuele Kunst S. M. A. K. in Prominent institutions which have hosted solo Ghent. Entitled Ecce Homo / le Poseur, the S. M. A. K. presentation marked shows include the Stedelijk Museum voor Actuele the most comprehensive survey of Wolfson’s work to date. The volume’s Kunst S. M. A. K., Ghent ; Chisenhale eponymous title effectively expresses the artist’s interest in the ego Gallery, London ; Kunsthalle Wien, Vienna ; REDCAT Roy and Edna Disney / CalArts and its image as well as destabilizing differences between life and imita- Theater, Los Angeles ; Kunstsammlung tion, reality and imagination. Anchored by full-scale color plates of Nordrhein-Westfalen, Düsseldorf ; CCA Wolfson’s three animations — video stills, details, and installation views Wattis Institute for Contemporary Arts, San of the ambitiously conceived Con Leche , Animation, masks , Francisco ; Swiss Institute of Contemporary Art, New York ; Galleria d’Arte Moderna and Raspberry Poser — the book provides a critical framework e Contemporanea di Bergamo, Italy ; and for the artist’s vast and varied practice. Kunsthalle Zürich . Work by Wolfson is Images are given context by illuminating scholarship by Esther held in public collections worldwide, including Leslie and Linda Norden, and a conversation between Aram Moshayedi the Fondazione Sandretto Re Rebaudengo, Turin; Galleria d’Arte Moderna e Contemporanea di and Wolfson brings their analyses to ground. Also included is a letter Bergamo, Italy; Magasin Stockholm Konsthall; personally addressed to the artist by Philippe Van Cauteren. In Wolfson’s Museum of Contemporary Art Chicago; Museum words, his work is “about reaching a place of displacement and control Ludwig, Cologne; Stedelijk Museum voor Actuele within the space of viewing”; this text exists as an embodiment of that Kunst S. M. A. K., Ghent; and the Whitney Museum of American Art, New York. ever-evolving vision, which considers the developments of digital and • analogue animation as essential to the histories of modernism and Martin Germann is senior curator at the Stedelijk modernity, and posits them as responsible for shaping and relaying the Museum voor Actuele Kunst S. M. A. K. in Ghent. concerns of sculptural and pictorial modes of representation, and From to , he worked as curator at the kestnergesellscha² in Hanover, and he has orga- defining our relationship to both images and objects. nized solo exhibitions and publications with artists such as Michaël Borremans, Aaron Curry, Julian Göthe, Joachim Koester, Elke Krystufek, Michael Sailstorfer, and Larry Sultan. • Esther Leslie is a writer and Professor of Political Aesthetics at Birkbeck College, University of London. She is the author of several books including Walter Benjamin: Overpowering Conformism , Hollywood Flatlands: Animation, Critical Theory and the Avant-garde , Synthetic Worlds: Nature, Art and the Chemical Industry , and Derelicts: Thought Worms from the Wreckage . • Aram Moshayedi is a writer and curator at the Hammer Museum in Los Angeles. He was formerly the associate curator of REDCAT Roy and Edna Disney / CalArts Theater in Los Angeles, where he organized exhibitions and oversaw the production of new works by Jordan Wolfson, as well as Tony Cokes, Jay Chung & Q Takeki Maeda, Geoffrey Farmer, and Ming Wong. He previously served as curator from to at LAXART in Los Angeles. • Linda Norden is an independent curator, writer, and art historian. Norden’s writing has Jordan Wolfson: covered an extensive range of artists and critics, including Richard Artschwager, Robert Gober, Ecce Homo/le Poseur Eva Hesse, Roni Horn, Pierre Huyghe, Lucy Lippard, Sharon Lockhart, Claes Oldenburg, Robert Ryman, and Cy Twombly. • Philippe Van Cauteren is artistic director of the Stedelijk Museum voor Actuele Kunst S. M. A. K. REDCAT/S.M.A.K./Walther König, Cologne in Ghent. He has been selected to curate in association with David Zwirner Books the Iraqi Pavilion at the Venice Biennale. . Reprint edition In , he was curator of the first Bienal Ceará Hardcover, × in (.× cm) América in Fortaleza, Brazil. He has worked pages, color as a freelance curator in Germany, Mexico, Chile, ISBN and Brazil, and regularly writes and lectures $ US & Canada | £ | € on contemporary art. • Introduction by Martin Germann and Aram Moshayedi. Texts by Esther Leslie, Linda Norden, and Philippe Van Cauteren. Interview with the artist by Aram Moshayedi
Described by Deborah Solomon in a New York Times profile as “one Born in in Cape Town, South Africa, of contemporary art’s most compelling painters,” Marlene Dumas has Marlene Dumas studied at the University of Cape continuously explored the complex range of human emotions, o²en Town before moving to The Netherlands in the late s to study painting and psychology. probing questions of gender, race, sexuality, and economic inequality She continues to live and work in Amsterdam. through her dramatic and at times haunting figural compositions. The Image as Burden is the artist’s current retro- Originally published in on the occasion of Against the Wall, Dumas’s spective show that was first exhibited at the first solo presentation at David Zwirner in New York, this much sought- Stedelijk Museum in Amsterdam from September to January . Marking the most extensive a²er exhibition catalogue — which sold out shortly a²er publication — presentation of Dumas’s oeuvre in Europe to date, has been reprinted to coincide with the artist’s – European the exhibition travels to Tate Modern in London retrospective exhibition The Image as Burden, organized by Tate Modern, February to May and the Fondation London in collaboration with the Stedelijk Museum, Amsterdam and Beyeler in Basel May to September . In , a critically acclaimed retrospective, Measuring the Fondation Beyeler, Basel. Your Own Grave, was organized by the Museum Throughout her career, the internationally renowned artist of Contemporary Art, Los Angeles in association has continually created lyrically charged compositions that eulogize the with The Museum of Modern Art, New York, frailties of the human body, probing issues of love and melancholy. which toured to The Menil Collection, Houston in . Intimate Relations marked her first At times her subjects are more topical, merging socio-political themes solo exhibition in South Africa and was held with personal experience and art-historical antecedents to reflect at the Iziko South African National Gallery, Cape unique perspectives on the most salient and controversial issues facing Town in and the Standard Bank Gallery, contemporary society. The large-scale works included in Against the Wall Johannesburg in . The Museum of Contemporary Art, Tokyo hosted the artist’s are primarily based on media imagery and newspaper clippings docu- first comprehensive solo show in Japan menting the conflict between Israel and Palestine, exploring the tension in . Titled Broken White, it traveled to the between the photographic documentation of reality and the constructed, Marugame Genichiro-Inokuma Museum of imaginary space of painting. The Wall, the painting that began the Contemporary Art, Marugame, Japan. Her work is represented in museum collections world- series, at first appears to present a scene at the Western Wall also known wide, including the Centre Georges Pompidou, as the Wailing Wall, an important site of religious pilgrimage located Paris; Gemeentemuseum, The Hague; Los in Jerusalem. However, this work is based upon a photograph from a Angeles County Museum of Art; Museum of newspaper that portrayed a group of Orthodox Jews on their way to pray Contemporary Art, Los Angeles; The Menil Collection, Houston; Museum of Contemporary at Rachel’s Tomb in Bethlehem. Through her delicate treatment of every Art, Tokyo; Museum für Moderne Kunst, scene, Dumas destabilizes preconceived notions about what, in fact, Frankfurt; The Museum of Modern Art, New is being pictured — engaging the o²en ambiguous nature of ideas like York; Stedelijk Museum, Amsterdam; and Tate truth or justice. “In a sense they are my first landscape paintings,” Dumas Gallery, London. 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
David Zwirner Books . Reprint edition Hardcover, ½× ½ in ( . × . cm) pages, color ISBN $ US & Canada | £ | € • Text by Marlene Dumas
Marlene Dumas: Against the Wall
Belgian artist Luc Tuymans is widely credited with having contributed Born in in Mortsel, near Antwerp, to the revival of painting in the s. His sparsely colored, figurative Luc Tuymans was one of the first artists to be works speak in a quiet, restrained, and at times unsettling voice, and are represented by David Zwirner. He joined the gallery in and had his first American solo typically painted from pre-existing imagery which includes photographs exhibition that same year. In , Luc Tuymans: and video stills, exploring diverse and sensitive topics including the The Shore was on view at David Zwirner in Holocaust, the effects of images from / , the ambiguous utopia London and marked his twel²h solo show with of the Disney empire, the colonial history of his native Belgium, and the the gallery. Tuymans’s work was recently the subject of a retrospective co-organized by the phenomenon of the corporation. Since , Tuymans has committed Wexner Center for the Arts, Columbus, Ohio himself to showing a new series of works at David Zwirner once every two and the San Francisco Museum of Modern Art. years — a promise that he kept, and continues to keep, twenty years on, It traveled from to to the Dallas Museum as his tempered style and political content have steadily garnered him of Art; Museum of Contemporary Art Chicago; and the Palais des Beaux-Arts, Brussels. In worldwide acclaim. , Tuymans represented Belgium at the th This reprint edition of Luc Tuymans: Exhibitions at David Zwirner Venice Biennale. His works are featured in includes additional visual material, as well as an updated appendix that museum collections worldwide, including The features an exhibition history and bibliography. Striking color reproduc- Art Institute of Chicago; Centre Georges Pompidou, Paris; Los Angeles County Museum tions of the artist’s major works are contextualized by brief commentary, of Art; The Museum of Modern Art, New York; photographs, and archival documentation, as well as installation views, Pinakothek der Moderne, Munich; Solomon exhibition checklists, and personal photographs. Other texts include R. Guggenheim Museum, New York; and Tate an interview between the artist and David Zwirner, as well as individual Gallery, London. • interviews conducted by Lynne Tillman with art critic Peter Schjeldahl; New York-based novelist and cultural critic Lynne artist Brice Marden; art historian and academic Robert Storr; and Tillman is the author of five novels, three collec- together with Helen Molesworth and Madeleine Grynsztejn, co-curators tions of short stories, one collection of essays, and of Tuymans’s major US retrospective. two other nonfiction books. Her novels include American Genius, A Comedy , No Lease on Life — which was a New York Times Notable Book of and a finalist for the National Book Critics Circle Award — Cast in Doubt , Motion Sickness , and Haunted Houses . • Brice Marden is an American artist based in New York. His work has been the subject of numerous solo exhibitions, including Brice Marden: Plane Image, A Retrospective of Paintings and Drawings, which was organized by The Museum of Modern Art, New York and which later traveled to the San Francisco Museum of Modern Art and the Hamburger Bahnhof, Berlin. • Formerly an art critic for The Village Voice and a contributing editor for Art in America, Peter Schjeldahl has worked as the art critic for The New Yorker since . • Robert Storr is the Stavros Niarchos Foundation Dean of the Yale School of Art. He was formerly Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art, New York. In , he was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. From to , he was Director of Visual Art for the Venice Biennale, the first American invited to assume Luc Tuymans: that position. • Exhibitions at David Zwirner Madeleine Grynsztejn is the Director of the Museum of Contemporary Art Chicago. She was formerly a curator at The Art Institute of Chicago, as well as Pittsburgh’s Carnegie Museum of Art and the San Francisco Museum of Modern Art. • Scholar, writer, and curator Helen Molesworth David Zwirner/Ludion is Chief Curator at the Museum of Contemporary Art, Los Angeles. Previously, she was the Hardcover, ¾× ½ in ( .×. cm) Barbara Lee Chief Curator of the Institute of pages, color Contemporary Art / Boston. ISBN • $ US & Canada | £ | € David Zwirner opened his eponymous gallery in • the SoHo neighborhood of New York in . Interviews with Brice Marden, Peter Schjeldahl, With locations currently in New York Chelsea Robert Storr, Madeleine Grynsztejn, and and London Mayfair, the gallery represents Helen Molesworth by Lynne Tillman. Interview with close to fi²y artists and estates. the artist by David Zwirner
Luc Tuymans: Exhibitions at David Zwirner
For nearly fi²y years, Raoul De Keyser – created subtly evocative Raoul De Keyser was born in in Deinze, paintings and works on paper that appear at once straightforward Belgium, and his work has been represented and cryptic, abstract and figurative. Composed of basic but indefinable by David Zwirner since . Since the mid- s, the artist’s work has been the subject of several shapes and marks, his compositions o²en invoke spatial and figural solo exhibitions at prominent institutions. illusions, though they remain elusive of any descriptive narrative. In , a large-scale retrospective was presented Despite — or precisely because of — their sparse gesturing, his works at the Royal Hibernian Academy, Dublin, which convey a grandeur that inspires prolonged contemplation; their apparent traveled to the Goldie Paley Gallery, Moore College of Art and Design, Philadelphia and The simplicity belied a lengthy gestation period, which was guided largely Renaissance Society at the University of Chicago. by intuition. A major survey of the artist’s paintings traveled Terminus: Drawings ¢ – and Recent Paintings is a beautifully extensively from and to the Whitechapel designed and produced catalogue that brings De Keyser’s singular touch Gallery, London; Musée de Rochechouart, France; De Pont Museum for Contemporary Art, to life. Originating from his solo exhibition at David Zwirner in Tilburg, The Netherlands; Museu Serralves, New York, the publication reproduces fi²y works, encompassing a suite Porto, Portugal; and the Kunstmuseum St. of drawings from to and recent paintings from to . Gallen, Switzerland. In , his paintings were Beyond the publication’s stunning, full-color reproductions, it also exhibited in a retrospective at the Kunstmuseum Bonn, Germany and his watercolors were includes a selection of installation views and scholarship by acclaimed presented jointly at the Museu Serralves, Porto, art historian Robert Storr. Portugal and the Douglas Hyde Gallery, Dublin. Recent solo shows were presented in at the Museum van Deinze en de Leiestreek in Deinze, Belgium and in at the Inverleith House, Royal Botanic Garden Edinburgh. Work by the artist is held in permanent collections worldwide, including the Carnegie Museum of Art, Pittsburgh, Pennsylvania; Museum of Contemporary Art, Los Angeles; Museum Dhondt-Dhaenens, Deurle, Belgium; Museum Ludwig, Cologne; The Museum of Modern Art, New York; Museum van Hedendaagse Kunst Antwerpen, Antwerp; San Francisco Museum of Modern Art; and the Stedelijk Museum voor Actuele Kunst S. M. A. K., Ghent. • Robert Storr is the Stavros Niarchos Foundation Dean of the Yale School of Art. He was formerly Senior Curator in the Department of Painting and Sculpture at The Museum of Modern Art, New York, where in he co-organized From Bauhaus to Pop: Masterworks Given by Philip Johnson, amongst numerous exhibitions. In , he was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. He has also taught at the CUNY Graduate Center, Bard Center for Curatorial Studies, Rhode Island School of Design, Tyler School of Art, New York Studio School, and Harvard University, and has been a frequent lecturer in the United States and abroad. From to , he was Director of Visual Art for the Venice Biennale, the first American invited to assume that position. The exhibition he organized at David Zwirner in the fall of to celebrate the centenary of Ad Reinhardt was voted “Best Show in a Commercial Space in New York” Raoul De Keyser: by the US Art Critics Association. Terminus: Drawings ( ) and Recent Paintings
David Zwirner/Steidl Hardcover, ¾× ¼ in ( .× . cm) pages, color, b&w ISBN $ US & Canada | £ | € • Text by Robert Storr
Raoul De Keyser: Terminus: Drawings ( ) and Recent Paintings
Marcel Dzama’s work is characterized by an immediately recognizable Marcel Dzama was born in in Winnipeg, visual language that draws from a diverse range of references and artistic Canada, where he received his BFA in influences, including Dada and Marcel Duchamp. While he has become from the University of Manitoba. He lives and works in Brooklyn, New York. Since , his known for his prolific drawings with their distinctive palette of muted work has been represented by David Zwirner. colors, in recent years, the artist has expanded his practice to encompass He has had seven solo exhibitions at the gallery sculpture, painting, film, and dioramas. in New York and one presentation in London. Created in close collaboration with the artist, this richly illustrated Since the late s, Dzama has exhibited widely in solo and group presentations throughout catalogue presents his exhibition at David Zwirner in London, which the United States and abroad. In , a major included videos inspired by the game of chess and puppets and masks survey of the artist’s work was presented based on the characters, along with drawings, collages, dioramas, at the Musée d’art contemporain de Montréal paintings, and sculptural works. Dzama utilized the architecture of the in Montreal. Other recent solo shows include those organized by the Kunstmuseum gallery itself — an eighteenth-century Georgian townhouse — by hanging Thun, Switzerland ; Centro de Arte puppets from a skylight above the five-story building’s central spiral Contemporáneo de Málaga, Spain ; Museo staircase and placing monitors in the windows so videos were viewed de Arte de Zapopan MAZ, Zapopan, Mexico from the street. As writer Deborah Solomon notes in her accompanying ; World Chess Hall of Fame and Museum, St. Louis ; Gemeentemuseum, The Hague essay, “Naturally, it is a futile endeavor to try and extract anything as ; Kunstverein Braunschweig, Germany compact as a moral or a single storyline from the twisty symbolism of ; Pinakothek der Moderne, Munich ; Dzama’s art. But you can say, at the very least, that his latest work is Ikon Gallery, Birmingham, England ; suffused with a sense of nostalgia for the European avant garde in its and Le Magasin – Centre National d’Art Contemporain de Grenoble, France . heyday — it invites you to enter a world filled with costumes and masks Work by the artist is held in museum collections and erotic play, with chessboard personalities dancing their heads off, worldwide, including the Corcoran Gallery of with the sort of brazen gestures in which the Dadaists and the Surrealists Art, Washington, D. C.;Dallas Museum of Art; specialized. To be sure, the old avant garde is long gone. It isn’t coming Musée d’art contemporain de Montréal; Museum of Contemporary Art, Los Angeles; The Museum back. What Dzama offers us in its place is a fairy tale about a world of Modern Art, New York; National Gallery of where art once tried to be pathbreaking and revolutionary, and which Canada, Ottawa; Solomon R. Guggenheim lives on today as a story we tell and re-tell about a lost civilization.” Museum, New York; Tate Gallery, London; and the Vancouver Art Gallery. • Born in in New York, Deborah Solomon is an American journalist, critic, and biographer, as well as WNYC radio art critic. Her writing regularly appears in The New York Times, and she is the author of several books, including American Mirror: The Life and Art of Norman Rockwell and Utopia Parkway: The Life and Work of Joseph Cornell .
Marcel Dzama: Puppets, Pawns, and Prophets
David Zwirner/Hatje Cantz Hardcover, ¼× in ( . ×. cm) pages, color ISBN $ US & Canada | £ | € • Text by Deborah Solomon
Marcel Dzama: Puppets, Pawns, and Prophets
Described by The New York Times art critic Roberta Smith as a “precocious Blinky Palermo – was born Peter art star,” German artist Blinky Palermo – has been associated Schwarze in Leipzig. In , he entered the with distinct twentieth-century art practices, from abstraction to Kunstakademie Düsseldorf, where he studied with Bruno Goller and then with Joseph Beuys Minimalism and Conceptual art. But his diverse body of work in fact and, in , appropriated the name Blinky defies easy classification. Throughout his brief and influential career — Palermo from the American boxing promoter- leading all the way up to his untimely death at the age of — Palermo cum-mafioso Frank “Blinky” Palermo, famous executed paintings, objects, installations, and works on paper that mined for managing heavyweight champion Sonny Liston. Over the course of his short life, Palermo various contextual and semantic issues at stake in the construction, participated in more than seventy exhibitions exhibition, and reception of works of art, eternally “stretching and ques- worldwide, including Documenta in and tioning” the boundaries of every medium he touched. the Venice Biennale in , and he represented This fully illustrated catalogue features new scholarship by Christine Germany at the São Paulo Biennial in . He has had posthumous retrospectives at the Mehring and Christoph Schreier and documents the exhibition at Kunstmuseum Winterthur, Switzerland ; David Zwirner in New York. It is the first publication to tackle Palermo’s Kunstmuseum Bonn ; Museu d’Art late work, which is characterized by explorations of the tensions between Contemporani de Barcelona MACBA ; material and color, surface and depth, and figuration and abstraction — Kunsthalle Düsseldorf ; and Dia : Beacon and the Center for Curatorial Studies at focusing in particular on the paper works he produced between Bard College, Annandale-on-Hudson, New and , the last year of his life. “Less a system builder than an analyst York CCS Bard . working on intuition,” writes Schreier in his catalogue essay, Palermo • “explored surface, shape, and color—the constituent elements of Christine Mehring holds a PhD from Harvard University and is Department Chair and Professor the image — with the aim of turning them into actors with a lively and of Art History at the University of Chicago with delicately balanced play of forces.” The simplicity of the artist’s vision is interests in postwar European art, abstraction, beautifully evinced by the catalogue’s vibrant color plates, which reveal design, and the relationship between new every stroke and each grain of paper shining through from behind and old media. Mehring has written extensively on Palermo, including the monograph Blinky the pigment. Palermo: Abstraction of an Era . In , she curated the exhibition Wols Photographs at the Harvard University Art Museum, and she regu- larly contributes to exhibition catalogues and publications including Artforum. • Born in Düsseldorf in , Christoph Schreier is Deputy Director of the Kunstmuseum Bonn, where he was hired as the museum’s first curator in . A²er receiving his doctorate in art history, literature, and history at the Ruhr University in Bochum in , he worked at the Staatliche Kunsthalle in Baden-Baden until and as a Scientific Assistant at the University of Siegen. His most recent publications include Marcel Odenbach: Works on Paper ¢ – ¨ and New York Painting .
Palermo: Works on Paper
David Zwirner/Radius Books Hardcover, ½× ¾ in ( .×. cm) pages, color ISBN $ US & Canada | £ | € • Texts by Christine Mehring and Christoph Schreier
Palermo: Works on Paper
In the work of Dutch artist Jan Schoonhoven, wrote The New York Times Jan Schoonhoven – is recognized for art critic Roberta Smith in , “clarity and purity reign.” Born in his extensive and systematic investigations Del² in and regarded as one of the most important Dutch artists of into light, form, and volume through his sculp- tural wall reliefs and works on paper. He studied the twentieth century despite being relatively unknown in the United at the Royal Academy of Fine Art in The Hague States, Schoonhoven was an active and influential player in the course and worked a full-time job at the Dutch Postal of major European postwar developments in art, particularly related Service for over thirty years, making art in 17mm to monochromatic, serialized abstraction. His early abstract drawings, his free time. Beginning in the s, he played a central role in the Nederlandse Informele Groep influenced by the work of Paul Klee, evolved into spare, delicate, and Netherlandish Informal Group and the Nul- o²en grid-based sculptural wall reliefs. In the s, Schoonhoven groep Nul Group — which were affiliated with co-founded the avant-garde Nul-groep Nul Group, a Dutch branch of the European Informel movement and the ZERO the international ZERO movement that sought to reduce art to the zero Group, respectively. Schoonhoven’s work is held in important museum collections, including the degree by simplifying compositions and using everyday materials. Gemeentemuseum, The Hague; Stedelijk Museum, This catalogue was published in conjunction with the first signifi- Amsterdam; The Museum of Modern Art, New cant presentation of Schoonhoven’s work in New York, if not the United York; and the Centre Georges Pompidou, Paris. • States, in over a decade, held at David Zwirner in New York in . Antoon Melissen is an Amsterdam and Berlin- Serving as an important contribution to English-language literature on based writer, art historian, and independent the artist, this extensive exhibition catalogue is anchored by richly detailed scholar specializing in art of the s through plates of his sculptural reliefs and works on paper made primarily the s. His publications include monographs between the mid- s and early s. During that period, Schoonhoven on the Dutch Nul artists Jan Henderikse with Renate Wiehager; and Armando as focused on the production of white, monochrome reliefs and black ink well as catalogue texts on the international ZERO
drawings, in which the integration of meticulous control and automatic movement for the Stedelijk Museum, Amsterdam; J
Martin-Gropius-Bau, Berlin; and the Peggy an gesture exemplify the artist’s ability to balance rigorous order with the Jan Schoonhoven expressiveness of the hand. Guggenheim Collection, Venice; among others.
He is currently working on a forthcoming mono- Sc Featuring new scholarship by Antoon Melissen, one of the foremost graph on the life and work of Jan Schoonhoven.
authorities on Schoonhoven’s work, as well as archival photographs ho and an illustrated chronology, this publication offers an invaluable intro- duction to the work of this pioneering champion of the proto-Minimalist o nh tendencies that sprang up in Europe and the United States in the
early s. ov en ai Zwirner David
Jan Schoonhoven David Zwirner
ZwirnerJanSchoonhovenCoverFINAL01_22_15.indd 1 23/01/2015 00:13
David Zwirner Books Hardcover, × in ( . × . cm) pages, color ISBN $ US & Canada | £ | € • Text by Antoon Melissen
Jan Schoonhoven
For the past four decades, Suzan Frecon has become known for abstract Suzan Frecon was born in in Mexico, oil paintings and watercolors that avoid facile explanations or recogniz- Pennsylvania. Following a degree in fine arts able visual associations. Instead, compositions integrate color, surface, from the Pennsylvania State University in , she spent three years at the École nationale and light to create an abstract visual reality that she intends to exist solely supérieure des Beaux-Arts in Paris. Since , on its strength as art. In a deliberative and searching process, she works her work has been represented by David Zwirner. toward painting that provides a complex, powerful, and inexplicable Previous shows at the gallery in New York experience for the viewer. As she has stated, “The physical reality and the include Suzan Frecon: recent painting and Suzan Frecon: paper , a large-scale presenta- spiritual content of my paintings are the same.” tion of her works on paper from the past oil paintings and sun documents Frecon’s third solo exhibition at decade, which was presented concurrently with David Zwirner in New York, held in , and is the most vivid presentation an exhibition of watercolors at Lawrence Markey to date of the artist’s engagement with natural light, the always-varying in San Antonio. Frecon has exhibited widely in the United States and internationally. In , subtleties of which she integrates into how the painting is created. her work was the subject of a major solo exhibition, The focal point of the catalogue is the painstakingly reproduced color form, color, illumination: Suzan Frecon painting, plates of fourteen recent paintings, many of which are depicted several at The Menil Collection in Houston, which times in various types of light and from multiple angles, allowing the traveled to the Kunstmuseum Bern in Switzerland. She has participated in a number of group reader to experience the work in a way that is more akin to seeing them in exhibitions such as the and Whitney person. In addition, it features an illuminating and lively essay by art Biennial. Permanent collections which hold writer David Cohen, which strives to explain the complexity of viewing works by the artist include The Art Institute of and experiencing Frecon’s work. Rounding out the catalogue are numer- Chicago; Fogg Art Museum, Harvard University, Cambridge, Massachusetts; Kunstmuseum Bern, ous details and installation views, atmospheric color photographs Switzerland; The Menil Collection, Houston; of the artist’s studio and materials, and an illustrated visual appendix The Morgan Library & Museum, New York; showing a selection of Frecon’s reference sources for the comprised The Museum of Fine Arts, Boston; The Museum works, including insightful commentary written by the artist. of Modern Art, New York; National Gallery of Art, Washington, D. C.; and the Whitney Museum of American Art, New York. She lives and works in New York. • David Cohen is publisher and editor of artcritical.com. Born in London and currently based in New York, he has been active since the s as an independent scholar, exhibition curator, and college instructor. He was art critic for The New York Sun – and gallery director at the New York Studio School – . For the last ten years he has been the moderator of The Review Panel, a debating forum of contemporary art criticism hosted by the National Academy Museum in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia.
Suzan Frecon: oil paintings and sun
David Zwirner Books Forthcoming in July Hardcover, ¼× ½ in (× . cm) pages, illustrated throughout ISBN $ US & Canada | £ | € • Texts by David Cohen and Suzan Frecon
Suzan Frecon: oil paintings and sun
Los Angeles-based artist Toba Khedoori is known for delicately shaded, Born in in Sydney, Toba Khedoori received large-scale compositions that depict objects and everyday environments her MFA from the University of California, divorced from any background. Whether drawing and painting onto thin Los Angeles, in . She joined David Zwirner that same year — one of the first artists to be repre- sheets of paper and stapling these directly onto the wall, or using canvas sented by the gallery. Her work has been the as physical support, her works are poised between ephemerality and subject of solo exhibitions at prominent institu- monumentality. Doors and windows, chairs and stairs, fences and bricks, tions worldwide, including the St. Louis Art train compartments and fireplaces appear at once familiar and unrecog- Museum, Missouri ; Royal Hibernian Academy, Dublin ; Whitechapel Gallery, nizable, and their “neither-here-nor-there” presence seems to become London ; Museum für Gegenwartskunst, a space for meditation. Basel ; and the Hirshhorn Museum and Designed in close collaboration with the artist, this exquisitely Sculpture Garden, Washington, D. C. . produced—and generously scaled—catalogue features a recent series Her first museum solo exhibition was organized in by the Museum of Contemporary Art, of oil paintings from her exhibition at David Zwirner in New York, Los Angeles, which traveled to the Walker which marked her sixth presentation with the gallery. Gatefolds allow Art Center, Minneapolis. In , Khedoori was the viewer to appreciate the intricacy of these works. Ropes in various awarded the prestigious MacArthur Foundation configurations are a recurrent motif, along with subjects from the Grant. She has participated in a number of international group exhibitions, including the natural world, including mountain ranges, tree branches, and rivers. rd Venice Biennale ; Liverpool Biennial Spare, open expanses of the white page surround some of the renderings, ; th São Paulo Biennial ; and giving the images a calming, otherworldly quality; their visual power the Whitney Biennial. • is contextualized with an essay about Khedoori’s practice by noted artist Born in Paris in , Julien Bismuth is an and writer Julien Bismuth. artist and writer currently based in New York. He received a BFA from the University of California, Los Angeles, an MA from Goldsmiths College, and he is currently pursuing a PhD in Comparative Literature at Princeton University. His work navigates between the visual and literary arts, and he has published a number of texts, including a series of publications with Devonian Press, which he co-founded with the artist Jean- Pascal Flavien in , as well as an essay for the catalogue Jason Rhoades: PeaRoeFoam, published on the occasion of the exhibition at David Zwirner in New York. His work is represented by Galerie Georges-Philippe & Nathalie Vallois, Galerie Parisa Kind, and the Layr Wuestenhagen Gallery, and he has exhibited at Tate Modern, London; Kunsthalle Wien, Vienna; and the Villa Arson, Nice, France; among other venues.
Toba Khedoori
David Zwirner/Radius Books Hardcover, × ¾ in ( . × . cm) pages, color ISBN $ US & Canada | £ | € • Text by Julien Bismuth
Toba Khedoori
Having begun his studio practice as a painter and dra²sman, in Al Taylor – was born in Springfield, Al Taylor – devised a uniquely innovative approach to process Missouri and received a BFA from the Kansas and materials that seamlessly enveloped drawings and three-dimensional City Art Institute in . Later that year, he moved to New York, where he would continue to objects as he created compositions that were grounded in the formal live and work until his death in , pioneering concerns of painting. Taylor ultimately sought to expand the possibilities a unique approach to process and materials of vision in his search for new ways of experiencing and imagining that encompassed two-dimensional drawings space, and his multilayered investigations of perception across variant and three-dimensional objects. A²er his first solo show at the Alfred Kren Gallery in New York dimensions provide the viewer with an insight into the artist’s idiosyn- in , his work would go on to be shown in cratic thinking, his methodology, and his playful sense of humor. numerous exhibitions in America and Europe, This publication focuses on two bodies of work by Taylor, Pass including solo exhibitions at the Kunsthalle the Peas and Can Studys. Although distinctly individual, both of these Bern ; Kunstmuseum Luzern ; Staatliche Graphische Sammlung München series examine Taylor’s lifelong explorations of the circle. In his Pass the at the Pinakothek der Moderne, Munich Peas series from – , the artist studied the inside and outside of and ; Louisiana Museum of Modern circular forms and investigated the multi-dimensional possibilities that Art, Humlebæk, Denmark ; Santa Monica could be revealed by conceptually and physically moving “around” them Museum of Art ; and the High Museum of Art, Atlanta . In , The Glass House to expose the mutable perception of their intrinsic shape. Using hula in New Canaan, Connecticut presented Six Panels: hoops, garden hoses, plastic-coated cables, and recycled bottle cap rings, Al Taylor, curated by Robert Storr. A retrospective he created three-dimensional spirals and coils, interlocking loops, of the artist’s work, organized by the High and dissected circles that were mounted on the wall, le² freestanding, Museum of Art, will open in Atlanta in . His work is currently found in a number of prominent or suspended by wires from the ceiling to activate changing perspectives. public collections, including The Museum of In this group of works, the artist renders conceptual ideas about the Modern Art, New York; National Gallery of Art, dimensionality of linear curves, the role of gravity and chance on motion, Washington, D. C.; Museum of Fine Arts, Houston; and the passage of time. In his Can Studys series, Taylor expanded Whitney Museum of American Art, New York; Glenstone, Potomac, Maryland; Centre Georges his circle “research” by investigating the play of light that would theoreti- Pompidou, Paris; The Morgan Library & cally be reflected off of the exterior — or projected out of the interior Museum, New York; British Museum, London; of cylinders. In a group of wall-mounted constructions created out of and the Staatliche Graphische Sammlung tin cans, wood, hot-rolled steel bands, and asymmetrical lengths of München, Munich. • wire, the artist characteristically “draws” in real space with objects that Klaus Kertess, art historian and critic, was one appear to vacillate between three and two dimensions. In his studies of Al Taylor’s early supporters and has previously of tin cans, Taylor explores the formal concerns of composition, math- written on his work. Kertess’s essay “Lines of ematical proportionality, linear movement, and the spatial possibilities Sight” appeared in the exhibition catalogue for Taylor’s first solo exhibition at Alfred Kren of light. Consistent with the dual nature of his practice, the artist’s Gallery, New York in . facility as a dra²sman 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
David Zwirner/Steidl Hardcover, × ½ in (.×. cm) pages, color, b&w ISBN $ US & Canada | £ | € • Text by Klaus Kertess
Al Taylor: Pass the Peas and Can Studys
Greene Street was more than a physical space — it was a locus of energy Jessamyn Fiore is a curator, writer, and artist and ideas that with a combination of genius and chance had a profound based in New York. A²er graduating from impact on the trajectory of contemporary art ... its permeable walls became Sarah Lawrence College in , she moved to Ireland where she ran her own theater company the center of an artistic community that challenged the traditional role for three years. In , she became Director of the artist, the gallery, the performer, the audience, and the work of art. of Thisisnotashop, a not-for-profit gallery space — Jessamyn Fiore in Dublin, which supported emerging artists and co-founded The Writing Workshop, which functioned as a collaborative forum for writers Greene Street was one of New York’s first alternative, artist-run venues. and artists. She received a Masters from The Started in October by Jeffrey Lew, Gordon Matta-Clark, and Alan National College of Art and Design, Dublin in Saret, among others, the building became a focal point for a young . She is currently co-director of the Estate of generation of artists seeking a substitute for New York’s established Gordon Matta-Clark with her mother Jane Crawford, Matta-Clark’s widow. At David Zwirner gallery circuit, and provided the stage for a singular moment of artistic in New York, Fiore curated the exhibitions invention and freedom that was at its peak between and . Greene Street: The Early Years ¢ – ¢ in Greene Street: The Early Years ¢ – ¢ is the culmination of and Gordon Matta-Clark: Above and Below an exhibition by the same name that was on view at David Zwirner in in . In , she became a partner at the New York gallery, Rawson Projects, where she had New York in . This extensively researched and historically important previously organized the group exhibition book brings together a number of works that were exhibited at the The Balloon. seminal space including works by Gordon Matta-Clark, Vito Acconci, • Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret, Louise Sørensen is Head of Research at David Zwirner. She has a PhD from the Courtauld and Richard Serra; extensive interviews with many of the artists involved Institute of Art in London. in the space; a fascinating timeline of all the activity at Greene Street in the early years; and installation views of the exhibition. The interviews in the book have been prepared by the exhibition’s curator, Jessamyn Fiore, and Louise Sørensen, Head of Research at David Zwirner, has contributed an introductory text that illuminates the space’s significance and critical reception during the prime years of its operation, as well as commentary on individual works in the show.
Greene Street: The Early Years ( )
David Zwirner/Radius Books Hardcover, ½× in ( .× . cm) pages, illustrated throughout ISBN $ US & Canada | £ | € • Interviews compiled by Jessamyn Fiore. Introduction and selected texts by Louise Sørensen
Greene Street: The Early Years ( )
Over the past decade, German artist Michael Riedel has incorporated Michael Riedel was born in and currently a wide range of media into his practice, including large-scale works on lives and works in Frankfurt, where he received canvas, fabric works, film and video, audio recordings, installations, a Meisterschüler at the Städelschule in . Since joining David Zwirner in , the artist has and events. A central focus of his work is the publishing and production had four solo exhibitions at the gallery in New of artist’s books, catalogues, brochures, posters, and cards. York and one presentation in London. Over the In , Riedel and Dennis Loesch launched a collaborative project past decade, Riedel has shown in both solo in an abandoned building in Frankfurt. Using the building’s address — and group shows at prominent venues through- out the United States and Europe. In , Oskar-von-Miller Strasse — as the name for their new space, they he was invited by the Palais de Tokyo in Paris to created an experimental laboratory where they restaged cultural events create a series of three site-specific installations held at other locations throughout the city, effectively duplicating in the museum’s event space: Jacques comité them in space and time. Occasionally, these re-presented events—which ¯Giacometti° July to April ; Dual air ¯Dürer° April to January ; and EFFJ included book readings, film screenings, art exhibitions, and music KNOOS ¯ JEFF KOONS° February to May . concerts — were hosted on the same night as the actual event elsewhere In , Riedel’s work was the subject of a major in the city, but mostly, they were presented days or weeks a²er the survey, Kunste zur Text, at the Schirn Kunsthalle original activity took place. Frankfurt. Other venues which have hosted recent solo exhibitions include the Kunstverein According to Riedel, “We presented one concept over and over again. Hamburg ; Städel Museum, Frankfurt To create a distance to some original that had been done at another and ; and the Kunstraum Innsbruck, place.” With the call of “record, label, playback,” a group of young artists Austria . reiterated the language of a city’s cultural offerings, o²en without a full understanding of what they were reciting, but always with an acute aesthetic interest in the faults of transmission and transference. Oskar is the account of Oskar-von-Miller Strasse . The art space became renowned as a gigantic “replication device,” and this book itself is a product of such practices. Scores of audio and visual materials, partly in the form of transcripts from two Conferences of Anecdotes, chronicle its years of activities. Produced by the artist, this book was published to coincide with Riedel’s exhibition, Laws of Form, at David Zwirner in London.
Michael Riedel: Oskar
David Zwirner Softcover, ½× ½ in (.×. cm) pages, b&w illustrations throughout ISBN $ US & Canada | £ | €
Michael Riedel: Oskar
Throughout his career, James Bishop has engaged with European and Born in in Neosho, Missouri, James Bishop American traditions of postwar abstraction while developing a subtle, studied painting at Washington University, poetic, and highly unique visual language of his own. Alternating St. Louis and Black Mountain College, North Carolina, and art history at Columbia University, between — and at times interweaving — painting and drawing, Bishop’s New York, before traveling to Europe in works explore the ambiguities and paradoxes of material opacity and settling in Blévy, France. His work has been and transparency, flatness and spatiality, as well as linear tectonics and the subject of major museum exhibitions: from loosely composed forms. Privileging the nuanced and expressive quali- to , James Bishop, Paintings and Works on Paper traveled from the Kunstmuseum ties of color and scale, Bishop’s luminous works have been described by Winterthur, Switzerland to the Galerie national American poet and art critic John Ashbery as “half architecture, half air.” de Jeu de Paume, Paris and the Westfälisches In the early s, Bishop developed the vocabulary of color and Landesmuseum, Münster; and from to , form that would characterize his paintings on canvas for over twenty James Bishop. Malerie auf Papier / Paintings on Paper traveled from the Staatliche Graphische years: a reduced but rich palette, the employment of subtle architectonic Sammlung München, Munich to the Josef Albers abstractions, and a consistently large, square format that reinforces the Museum, Bottrop and The Art Institute of Chicago. viewer’s sense of scale and space. By overlapping thin but radiant veils of Bishop’s work can be found in public and private monochrome color, Bishop creates discrete geometric frameworks collections throughout the United States and Europe, including The Art Institute of Chicago; that suggest doors, windows, cubes, or what the artist describes as an Australian National Gallery, Canberra; Brooklyn uncertain scaffolding. Museum of Art, New York; Grey Art Gallery & Study Published to coincide with James Bishop’s first solo presentation Center, New York University Art Collection, New in New York since , which was held at David Zwirner in New York York; Musée de Grenoble; Musée d’Art Moderne de la Ville de Paris; The Museum of Modern in , this volume includes works spanning the artist’s prolific career. Art, New York; Centre Georges Pompidou, Paris; The catalogue presents numerous large paintings on canvas from Louisiana Museum of Modern Art, Humlebæk, the s to the early s, as well as small-scale paintings on paper, Denmark; ARCO Foundation, Madrid; Staatliche to which Bishop turned exclusively in and which he continues Graphische Sammlung München, Munich; San Francisco Museum of Modern Art; Tel Aviv to produce today. In addition, the book includes details and installation Museum; Kunstmuseum Winterthur; and views, providing further context for understanding the artist’s work. Kunsthaus Zürich, among others. • Carter Ratcliff is an award-winning poet and art critic. His first gallery reviews appeared in ARTnews in . Since then his writing has been published by major art journals in the United States and abroad, including Art in America, Artforum, Modern Painters, Tate, Art Presse, and Artstudio, and in catalogues published by American and European museums, including The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; Stedelijk Museum, Amsterdam; and The Center for Contemporary Art, Cincinnati. Ratcliff has taught at New York University; Hunter College, New York; and the New York Studio School of Drawing, Painting & Sculpture. He received a Poets Foundation grant in . His other awards include an Art Critics grant, NEA, and ; a Guggenheim Fellowship, ; and the Frank Jewett Mather Award for Art Criticism, College Art Association, . His first novel, Tequila Mockingbird, was published in .
James Bishop
David Zwirner Books Hardcover, ¾× ¼ in ( .×. cm) pages, color ISBN $ US & Canada | £ | € • Text by Carter Ratcliff
James Bishop
David Zwirner Backlist
Al Taylor: Early Works Al Taylor: Rim Jobs and Sideffects Alan Uglow Alice Neel: Late Portraits & Still Lifes
Steidl/Zwirner & Wirth David Zwirner/Steidl David Zwirner/Radius Books David Zwirner/Radius Books Hardcover, × ¼ in (.×. cm) Hardcover, × ½ in ( . × . cm) Hardcover, ½× ½ in (.× Hardcover, × ¼ in ( . ×. cm) pages, color, b&w pages, color, b&w . cm) pages, color ISBN ISBN pages, color ISBN $ US & Canada | £ | € $ US & Canada | £ | € ISBN $ US & Canada | £ | € $ US & Canada | £ | €
Assemblage Chris Ofili: Afro Margin Chris Ofili: Devil’s Pie Claes Oldenburg: Early Work
Zwirner & Wirth David Zwirner/Radius Books David Zwirner/Steidl Zwirner & Wirth Softcover, × in (.×. cm) Softcover, ¼× ½ in ( . × . cm) Hardcover, ¾× ¾ in ( .× Hardcover, × in (.×. cm) pages, color pages, tritone . cm) pages, color, b&w ISBN ISBN pages, color, b&w ISBN $ US & Canada | £ | € Out of print ISBN $ US & Canada | £ | € $ US & Canada | £ | €
Dan Flavin: The Green Gallery Diana Thater: Dreamland Francis Alÿs: Sometimes Franz West: Early Work Exhibition Doing Something Poetic Can David Zwirner/Zwirner & Wirth Become Political and Sometimes Zwirner & Wirth Steidl/Zwirner & Wirth Doing Something Political Can Softcover, ½× in (.×. cm) Become Poetic Hardcover, ¼× ¼ in ( . ×. cm) Hardcover, × ¼ in (.× cm) pages, color pages, color, b&w pages, color, b&w ISBN David Zwirner ISBN ISBN $ US & Canada | £ | € Out of print $ US & Canada | £ | € Hardcover, ½×¼ in ( . × cm) pages ISBN $ US & Canada | £ | €
Fred Sandback Fred Sandback The Helga and Walther Lauffs James Welling: Flowers Marcel Dzama: Even the Ghost Marlene Dumas: Selected Works Michaël Borremans: Horse Hunting Michael Riedel: Neo Collection of the Past Zwirner & Wirth David Zwirner/Steidl David Zwirner Zwirner & Wirth David Zwirner David Zwirner Steidl/Zwirner & Wirth David Zwirner/Steidl Hardcover, × in ( . × . cm) Hardcover, × in ( . × . cm) Hardcover, ½× in ( .×. cm) Hardcover, × in ( .× cm) Hardcover, ¼× in ( . × . cm) Softcover, ¼× ¾ in ( ×. cm) pages, color pages, color Hardcover, volumes with slipcase, pages, color Hardcover, ¼× ½ in ( . × pages, color pages, color pages ISBN ISBN ½× ½ in ( . ×. cm) ISBN . cm) ISBN ISBN ISBN $ US & Canada | £ | € Out of print pages, illustrated throughout $ US & Canada | £ | € pages, illustrated throughout Out of print $ US & Canada | £ | € $ US & Canada | £ | € ISBN ISBN $ US & Canada | £ | € Out of print
Jason Rhoades’s Black Pussy John McCracken: Early Sculpture John Wesley: A Collection Lisa Yuskavage Neo Rauch Neo Rauch: Renegaten On Kawara: Paintings of Years Primary Atmospheres: Works from Cocktail Coffee Table Book California – Zwirner & Wirth Zwirner & Wirth David Zwirner David Zwirner/Steidl David Zwirner David Zwirner David Zwirner/Steidl David Zwirner/Steidl Softcover, ½× ½ in ( . ×. cm) Softcover, ¼× ½ in ( . ×. cm) Hardcover, × in ( . × . cm) Hardcover, ¼×¾ in ( × . cm) Softcover, ¾× ¼ in (.×. cm) Hardcover, ¾× in ( . ×. cm) Hardcover, ½× in ( . × cm) pages, color pages, color pages, color pages, color pages, color pages, color Hardcover, ¾× ½ in ( .× pages, illustrated throughout ISBN ISBN ISBN ISBN ISBN ISBN . cm) ISBN Out of print $ US & Canada | £ | € Out of print $ US & Canada | £ | € $ US & Canada | £ | € $ US & Canada | £ | € pages, color $ US & Canada | £ | € ISBN $ US & Canada | £ | €
Luc Tuymans: Mwana Kitoko, Luc Tuymans: Proper Marcel Dzama: Behind Every Curtain Marcel Dzama: The Course of Human Raoul De Keyser: Recent Work Robert Graham: Early Work Suzan Frecon: paintings – Suzan Frecon: paper Beautiful White Man History Personified – David Zwirner David Zwirner David Zwirner David Zwirner/Radius Books David Zwirner/Radius Books David Zwirner David Zwirner David Zwirner/Steidl Softcover, × ¾ in ( . ×. cm) Softcover, ×¾ in ( .× . cm) Softcover, ¼× in ( ×. cm) Hardcover, ¼× ¾ in (× . cm) Hardcover, ¾× ¼ in ( .× Softcover, × ½ in ( . ×. cm) pages, color, b&w pages, color, b&w Hardcover, × in ( . × . cm) pages, color Hardcover, × in ( . × . cm) pages, color . cm) pages, color ISBN ISBN pages, color ISBN pages, color, b&w ISBN pages, color No ISBN $ US & Canada | £ | € $ US & Canada | £ | € ISBN $ US & Canada | £ | € ISBN $ US & Canada | £ | € ISBN $ US & Canada | £ | € $ US & Canada | £ | € $ US & Canada | £ | € $ US & Canada | £ | €
Related Backlist
The following publications are related to the David Zwirner program. Featured titles are from museums including The Museum of Modern Art, New York; Solomon R.Guggenheim Museum, New York; and Tate, London; in addition to commercial imprints including Abrams, Hatje Cantz, Radius Books, Rizzoli, Steidl, Yale University Press, and others. Alice Neel: Intimate Relations— Alice Neel: Painted Truths Blinky Palermo: Retrospective The Book of Genesis Illustrated Drawings and Watercolours – by R.¤Crumb –£ Museum of Fine Arts, Houston Yale University Press W.W. Norton & Company, Inc. Nordiska Akvarellmuseet Hardcover, ¾× in ( .×. cm) pages, color, b&w Hardcover, ¼× ¼ in ( . ×. cm) Hardcover × ¼ in (.×. cm) Hardcover, × in ( . ×. cm) ISBN pages, color pages, illustrated throughout pages, color $ US & Canada ISBN ISBN ISBN $ US & Canada $ US & Canada $ US & Canada
Chinati: The Vision of Donald Judd Chris Ofili Chris Ofili Chris Ofili: Night and Day
The Chinati Foundation/ Rizzoli Tate Publishing New Museum/Skira Rizzoli Yale University Press Hardcover, ¾× ½ in ( .× Hardcover, ¼× in ( × . cm) Hardcover, × in (.× . cm) Hardcover, × ½ in ( . ×. cm) . cm) pages, color pages, illustrated throughout pages, color, b&w pages, illustrated throughout ISBN ISBN ISBN ISBN $ US & Canada $ US & Canada $ US & Canada $ US & Canada
Christopher Williams: Printed in Christopher Williams: The Production Dan Flavin: Lights Donald Judd Germany Line of Happiness Hatje Cantz Yale University Press Walther König, Cologne The Art Institute of Chicago Hardcover, ¼× ½ in ( ×. cm) Hardcover, ½× ½ in ( .× Softcover, ¼× ¾ in ( ×. cm) Softcover, ½× ½ in ( .×. cm) pages, color . cm) pages, color pages, color, b&w ISBN pages, color, b&w ISBN (yellow) ISBN (yellow) $ US & Canada ISBN ISBN (red) ISBN (red) $ US & Canada ISBN (green) ISBN (green) $ US & Canada $ US & Canada
Donald Judd: Complete Writings Donald Judd: The Multicolored Works form, color, illumination: Francis Alÿs: A Story of Deception Jeff Koons: A Retrospective Jeff Koons: Conversations with Jockum Nordström: All I Have John McCracken: Sketchbook ¥–¥ Suzan Frecon painting Norman Rosenthal Learned and Forgotten Again Yale University Press The Museum of Modern Art, Whitney Museum of American Art Radius Books The Press of the Nova Scotia College The Menil Collection/Kunsthalle Bern New York/Tate Publishing Thames & Hudson Hatje Cantz of Art and Design Hardcover, ½×½ in ( . × . cm) Hardcover, ¼× ½ in (× . cm) Hardcover, × in (.× . cm) pages, color Hardcover, × ½ in ( . ×. cm) Softcover, ½×½ in ( . × . cm) pages, color, b&w Hardcover, ×¾ in ( .× . cm) Hardcover, × ½ in (.×. cm) pages, color Softcover, ½× in ( .×. cm) ISBN pages, color, b&w pages, color ISBN pages, illustrated throughout pages, color ISBN pages, b&w $ US & Canada ISBN ISBN $ US & Canada ISBN ISBN $ US & Canada ISBN $ US & Canada $ US & Canada $ US & Canada $ US & Canada $ US & Canada
Diary / Landscape JAMES WELLING
Francis Alÿs: REEL¨UNREEL Fred Sandback: Drawings Isa Genzken: Retrospective James Welling: Diary¤/¤Landscape Karla Black Kerry James Marshall: Painting and Lisa Yuskavage: The Brood Luc Tuymans Other Stuff Paintings –¥ Centre for Contemporary Art Ujazdowski Richter Verlag The Museum of Modern Art, New York The University of Chicago Press Walther König, Cologne/ D.A.P./San Francisco Museum of Castle/Electa/Museo Madre Kestnergesellschaft Ludion Skira Rizzoli Modern Art/Wexner Center for the Arts Hardcover, ½× ½ in (.× Hardcover, ½× in ( . × . cm) Hardcover, × in (.×. cm) Forthcoming in September Hardcover, × ½ in (.×. cm) . cm) pages, color pages, b&w Softcover, × ½ in (.×. cm) Softcover, ¼× ¼ in ( × cm) Hardcover, × in ( . × . cm) Hardcover, × ¾ in ( . ×. cm) pages, color pages, color, b&w ISBN ISBN pages, color pages, color pages, color pages, color ISBN ISBN $ US & Canada $ US & Canada ISBN ISBN ISBN ISBN $ US & Canada $ US & Canada $ US & Canada $ US & Canada $ US & Canada $ US & Canada
James Welling: The Mind on Fire James Welling: Monograph Jason Rhoades Jason Rhoades, Four Roads Luc Tuymans: Graphic Works Luc Tuymans: Is It Safe? Marcel Dzama: Sower of Discord Marlene Dumas: The Image as Burden £– Works – DelMonico Books/Prestel Aperture DuMont Buchverlag/Friedrich Institute of Contemporary Art, Abrams Books D.A.P./Tate Publishing Christian Flick Collection University of Pennsylvania/DelMonico Ludion Phaidon Hardcover, ¾× in (.×. cm) Hardcover, ½× ½ in ( . ×. cm) Books/Prestel Hardcover, ¾× in ( .× . cm) Softcover, ¼× in ( . × . cm) pages, color, b&w pages, color Hardcover, ¼× ½ in ( . × Hardcover, ½× ¼ in ( . ×. cm) Hardcover, × ¼ in ( . ×. cm) pages, color pages, color ISBN ISBN . cm) Hardcover, ½× in ( .×. cm) pages, color pages, color ISBN ISBN $ US & Canada $ US & Canada pages, color, b&w pages, color, b&w ISBN ISBN $ US & Canada $ US & Canada ISBN ISBN $ US & Canada $ US & Canada $ US & Canada $ US & Canada
Marlene Dumas: Measuring Your Marlene Dumas: Sweet Nothings Michaël Borremans: As sweet Michaël Borremans: Eating the Beard Oscar Murillo: work Philip-Lorca diCorcia Philip-Lorca diCorcia: Philip-Lorca diCorcia: Eleven Own Grave Notes and Texts £– as it gets A Storybook Life Hatje Cantz Rubell Family Collection Kerber/Schirn Kunsthalle Frankfurt Freedman Damiani D.A.P./Museum of Contemporary Art, D.A.P./Walther König, Cologne Hatje Cantz Twin Palms Publishers Los Angeles Hardcover, ¼× ¾ in ( . × Softcover, × ¼ in ( . × cm) Softcover, ¾× ¾ in ( .×. cm) Hardcover, × ¾ in (.× . cm) Softcover, ½× in ( . × . cm) Hardcover, ½× ¼ in (.× . cm) pages, color pages, color Hardcover, × in ( .×. cm) pages, illustrated throughout Hardcover, ¾× in ( .× . cm) pages, b&w . cm) pages, color ISBN ISBN pages, color ISBN pages, color, b&w ISBN pages, color ISBN $ US & Canada $ US & Canada ISBN $ US & Canada ISBN $. US & Canada ISBN $ US & Canada $ US & Canada $ US & Canada $ US & Canada
Michael Riedel: Jacques comité Michael Riedel: Kunste zur Text Neo Rauch Neo Rauch: Paintings Philip-Lorca diCorcia: Hustlers Portraits. Luc Tuymans Raoul De Keyser: The Last Wall Raymond Pettibon [Giacometti]¤/¤Dual air [Dürer] Schirn Kunsthalle Frankfurt Taschen Hatje Cantz Steidldangin The Menil Collection/Yale MER.Paper Kunsthalle Rizzoli Koenig Books, London University Press Softcover, ½× ½ in (.× Hardcover, ¾× in ( .× cm) Hardcover, × ¼ in ( . × . cm) Hardcover, × in ( × . cm) Hardcover, ¾×¼ in ( . × . cm) Hardcover, ½× ½ in (.× Hardcover, ½× ½ in ( . × . cm) . cm) pages, color, b&w pages, color pages, color Hardcover, ½× in ( . ×. cm) pages, color, b&w . cm) pages, color, b&w pages, color ISBN ISBN ISBN pages, color ISBN pages, illustrated throughout ISBN ISBN $ US & Canada $ US & Canada $ US & Canada ISBN $ US & Canada ISBN $. US & Canada $ US & Canada $ US & Canada $ US & Canada
On & By Luc Tuymans On Kawara: Tableaux and On Kawara—Silence Oscar Murillo: La era de la sinceridad Richard Serra Drawing: Robert Kudielka on Bridget Riley: Stan Douglas: Scotiabank Stan Douglas: Midcentury Studio ,¥ Pages A Retrospective Essays and interviews since Photography Award The MIT Press/Whitechapel Gallery Guggenheim Museum Kilimanjaro/OMO Creates Ludion Dallas Museum of Art/Yale The Menil Collection Ridinghouse Steidl Softcover, ×¼ in ( .× cm) University Press Hardcover, ¾×¾ in ( . × Softcover, ¾× ½ in (.× . cm) Hardcover, ¾× ¼ in (.× cm) pages . cm) pages, color Hardcover, ¾× in ( .× . cm) Softcover, ×¼ in ( .× cm) Hardcover, × ¼ in ( . × . cm) pages, b&w, duotone ISBN Hardcover, ½× in ( .×. cm) pages, color ISBN pages, illustrated throughout pages, color pages, color ISBN $ US & Canada pages, color ISBN $ US & Canada ISBN ISBN ISBN $ US & Canada ISBN $ US & Canada $ US & Canada $ US & Canada $ US & Canada $ US & Canada
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