Books

A belt-like adjustable elastic book band by Hightide. 

Can hold books up to size 5.8" x  8.3" (A5).

Dimensions: (W)5.7"(adjustable) x (H)0.7" x (D)0.2"

An essential companion to the bestselling Russian Criminal Tattoo series

This beautifully produced boxed set of 53 postcards contains stunning images from the bestselling Russian Criminal Tattoo Encyclopaedia series of books. These hugely popular and influential books document the Russian criminal tattoo, revealing its hidden meanings. The motifs depicted represent the uncensored lives of the criminal classes, whose tattoos were a secret tribal language, a method of showing status within the prison system. By turn they are extraordinary, artful, explicit and sometimes just strange, reflecting as they do the lives and traditions of this previously hidden world. The box features 25 original sheet drawings by Danzig Baldaev and 25 photographs by Sergei Vasiliev. Each has a detailed description of the meaning of each tattoo on the reverse. Also included is a postcard of each of the three book covers. The drawings printed on the postcards are facsimiles of Baldaev’s original sheets, reproduced directly from the Russian Criminal Tattoo Archive. Previously unpublished in this form.

An affordable overview of the great French modernist’s essential inventions

This volume compiles iconic furniture pieces by Charlotte Perriand (1903–99). The French designer’s career began in 1927, when she was just 24, and presented her steel and aluminum bar, “Bar under the roof,” at the Salon d’Automne—prompting Le Corbusier to hire her as a furniture designer. Perriand produced works with Le Corbusier and Pierre Jeanneret that remain canonical today. In 1940, she was invited to Japan to be the official advisor on industrial design for the Ministry of Trade and Industry; she recommended that the Japanese turn their efforts to creating products for export to the West. Unable to return to Paris because of naval blockades, she stayed in Vietnam for four years, where she learned about weaving, woodwork, rattan and other natural products. This experience prompted her to use materials such as bamboo and cane to create affordable mass-produced furniture—featured here along with other classic works.

A concise introduction to the opulent modernism of a long-neglected design pioneer

Neglected for most of her career, Eileen Gray (1878–1976) is now regarded as one of the most important furniture designers and architects of the early 20th century and the most influential woman in those fields. Her work inspired both modernism and Art Deco. Gray was to stand alone throughout her career, first as a lacquer artist, then a furniture designer and finally as an architect; at a time when other leading designers were almost all male and mostly members of one movement or another—whether a loose grouping like De Stijl in the Netherlands—she remained staunchly independent. Gray’s design style was as distinctive as her way of working, and she developed an opulent, luxuriant take on the geometric forms and industrially produced materials used by the International Style designers (Le Corbusier, Charlotte Perriand and Mies van der Rohe).
This affordable volume presents the works for which she remains revered today.

Midcentury masterpieces from the inventors of the Eames chair

Best known for their contributions to architecture, furniture design, industrial design, film and photography, Charles and Ray Eames remain among the most renowned American designers of the 20th century. The couple married in 1941 and moved to California, where they pursued their furniture design in molded plywood. During the war they were commissioned by the US Navy to produce molded plywood splints, stretchers and experimental glider shells. In 1946, Evans Products began producing the Eames' molded plywood furniture. Their iconic molded plywood chair was called "the chair of the century" by the influential architectural critic Esther McCoy. In 1949, the Eameses designed and built their own home in Pacific Palisades, their design and imaginative use of materials making this house a mecca for architects and designers internationally. Today it is considered one of the most important postwar residences in the world.
This volume introduces key works by the couple from across their career.

Acclaimed furniture works from the Bauhaus polymath

Mies van der Rohe (1886–1969) is without doubt one of the pioneering masters of modern architecture. Equally significant, though smaller in scale, are his adventures in furniture design. Like any good architect, Mies knew that architecture and furniture inevitably slip into dialogue and affect one another (he brought his knowledge of recent industrial technologies to bear on many of the chairs and tables he produced) and consequently, his earliest designs, beginning in the mid-1920s, were conceived for specific interiors. At first furniture design seemed more daunting than architecture: “There are endless possibilities and many problems—the chair has to be light, it has to be strong, it has to be comfortable. It is almost easier to build a skyscraper than a chair,” he once declared. But Mies soon found novel ways to marry traditional luxurious fabrics and leathers with contemporary chrome frames, while effecting a distinct separation between the supporting structure and the supported surfaces. Today his modern furniture pieces such as the Barcelona chair, table, ottoman and day bed and the Bruno chair are acclaimed popular classics.

A portrait of once-beloved, now-decaying cars in junkyards across America, from one of the New Journalism’s key figures

Brooklyn-born photographer Danny Lyon (born 1942) is one of the most influential photographers of the last six decades. His immersive and groundbreaking works include The Bikeriders (1968), The Destruction of Lower Manhattan (1969) and his 2024 memoir This Is My Life I'm Talking About.
When he was 21, Lyon’s father passed on to him a 1953 Oldsmobile. He discovered the ecstasy of speeding along Georgia highways during the civil rights movement, with red dirt fields of peanuts and cotton flying by. In the excitement of driving, he realized his own mortality. Lyon’s Junk: America in Ruins features approximately 86 American cars, mostly from the 1950s and 1960s, in junkyards across the western United States. The pictures were taken in Nebraska, Texas, New Mexico, Arizona and Oklahoma.
This is a work of pure visual photography. The premise behind the work is that many things—sculptures, monuments, buildings—take on a new and added beauty as they deteriorate and become ruins: a certain pathos is added to their original beauty. This is true of the automobiles in this series: once the beloved machines of people and families who owned and drove them, they now evoke a terrible beauty and sadness.

An arresting visual document that charts the degradation of one of America’s most astonishing natural monuments

In November 2022, the water level of the Great Salt Lake fell to its lowest on record. Diverted water supply from its feeding rivers, pollution from nearby extraction plants and ravaging droughts have brought this landmark to a crisis point. As the lake reached its lowest ebb, photographer Fazal Sheikh (born 1965), together with writer Terry Tempest Williams (born 1955), walked the shoreline, awed by its epic beauty while recording the destruction of its natural habitats. As Utah native Williams writes in her essay, "Retreat," she is witnessing the death of a lake that has been a constant presence in her life. Meanwhile, Sheikh documents the shrinking salt basin from above, revealing how the lake has been exploited: plundered for its natural salts, dissected by concrete highways, discolored by toxic waste, depleted by evaporation. His images hold a mirror to the lake’s surface, charting its destruction while demanding the viewer’s visceral response.

The need-to-know names of Japanese graphic design from the late 19th century to the pre-digital decade, presented alongside more than 500 color images of vintage ephemera

With Fracture, author Ian Lynam presents a survey of Japanese design across a century as told through the biographies of its most influential creators. The chronology begins less than two decades after Japan’s opening to the West, ending a 200-year isolationist policy. Lynam features the stories of more than 90 pacesetters shaping the country’s modern aesthetic. We meet Hani Motoko, considered Japan’s first female journalist, who commissioned Frank Lloyd Wright to build the "Hall for Tomorrow" schoolhouse in Toshima City, Tokyo. Amid the national propaganda of the interwar period, a vision of the modern Japanese woman emerges in the advertisements of Hisui Sugiura and Tada Hokuu. The 1964 Olympics marked a watershed moment for Japanese design on the international stage, with Yusaku Kamehura’s "red circle" logo and the design of pictograms used in the competition for the first time. Finally, the survey concludes with the rise of women's liberation or ribu, and the state of graphic design at the threshold of the digital age.
Illustrated with children’s book pages, travel posters, maps, product advertisements, erotic magazine covers and more, Fracture functions as a visual treasure trove of Japanese ephemera while also introducing readers to the creative minds behind these formative designs.
Ian Lynam (born 1972) holds an MFA in graphic design from California Institute of the Arts. He is a faculty member at Temple University Japan Campus as well as at Vermont College of Fine Arts. His previous books on design include War with Myself, The Failed Painter and The Impossibility of Silence.

A magnificent collection of portraits combined with selections from the archives of great writers

Telling the stories of the best-loved writers in English literature, Writers Revealed investigates their enduring appeal from the 16th century to today through the collections of the National Portrait Gallery and the British Library. The Portrait Gallery’s outstanding collection of author portraits are paired with intimate handwritten manuscripts, letters and notebooks, as well as rare first editions of books from the British Library. From William Shakespeare to Zadie Smith, Writers Revealed features over 70 poets, novelists and academics. Each short profile—which provides insight into the writers’ inspirations, struggles and working practices—is beautifully illustrated with a portrait and manuscript or rare book. Readers will enjoy in-depth encounters with some of the world’s most talented writers, including James Joyce, Virginia Woolf, Bram Stoker, Jane Austen, Benjamin Zephaniah and Angela Carter, and discover just what it is that makes these individuals so endlessly compelling.

Twenty charismatic creatures made with playful flourishes by the quills of 17th- and 18th-century calligraphers

Sourced from Letterform Archive’s collection of historic writing manuals—books in which Europe’s leading scribes showed off their talents—this set of 20 unique notecards with accompanying envelopes delightfully displays hand-drawn animals made with ink and pen. Dogs, cats, bears, elephants, lions, dragonflies, peacocks, swans and more are reproduced in bright hues on an array of colorful backgrounds. These technically masterful and playfully expressive artworks by famed calligraphers such as Jan van de Velde, John Seddon and Joseph Friedrich Leopold make ideal companions for handwritten messages of all kinds. Presented in an elegant foil-stamped box, this set is the perfect gift for all animal-loving pen pals.

40 postcards with 20 favorite images from a dazzling journal of Deco-era Japanese design

Launched in the late 1920s, The Complete Commercial Artist (Gendai shōgyō bijutsu zenshū 現代商業美術全集) showcased work by Japan’s early design visionaries in 24 volumes on posters, window displays, lighted signs, and more. These retro postcards feature stylish and colorful selections from this masterpiece of print modernism.

An edifying immersion into Vicuña's creative wellspring as well as her decolonization and ecofeminist ideals

Beautifully designed, with a special reverence for her humanitarian heart, Dreaming Water is the most thorough monograph dedicated to the work of Chilean artist Cecilia Vicuña to date. Vicuña coined the term "Arte Precario" in the mid-1960s as a new category for her works composed of debris and structures that disappear in the landscape, and which also include her quipus ("knot" in Quechua), envisioned as poems in space. Dreaming Water brings together over 200 works--including paintings, drawings, screenprints, collages, textiles, videos, photographs, installations, poetry, artist books and performances--created throughout the artist's remarkable career. It also features several stimulating texts--a lengthy epistolary piece by curator and editor Miguel A. López as well as new essays by anthropologist Elizabeth A. Povinelli, curator Catherine de Zegher and art historian José de Nordenflycht. Vicuña herself contributes two texts, reflecting on her drawings from the "Palabrarmas" project and the activism of the group Artists for Democracy, which she cofounded in 1974. A rousing conversation between Vicuña, anthropologist Marisol de la Cadena and curator Camila Marambio also figures in the book, blending the artist's voice with those who are experts in fields pertinent to her practice.

An impressive and wide-ranging showcase of mostly women and gender-expansive artists whose work intertwines fluid ideas of embodiment with capacious models of abstraction

This stunningly illustrated exhibition catalog looks closely at how abstraction in art is often intimately tied with shifting ideas of the bodily. Bringing together seemingly unalike categories such as figurative/abstract, self/other and exotic/banal into newly fused configurations, the publication shows how artists have often conceived of these categories as inextricably intertwined. The catalog is divided into three thematic sections. “Mirror” explores the ways artists have honed in on the forms of the face and head as a distorted mirror. “Matter” looks at how artists draw on the metaphorical resonances of the body in ways that suggest mutable morphologies, especially in relation to socially constructed definitions of gender, race and sexuality. “Metamorphosis” examines how artists have used abstraction as a means to transform the human body into different modes of being: new identities, other animals and spiritual or cosmological entities. An introductory essay by Lanka Tattersall, Laurenz Foundation curator, maps the historical precedents from a feminist, queer and Afro-diasporic art historical perspectives, while a prologue by poet and artist Precious Okoyomon and a reflection by Lambda Literary Award finalist Cyrus Dunham open up new forms of language for questions around gender and abstraction.

For Fuller, nature is the most exquisite technology we know; and what underlies all of his work is the quest to uncover nature’s fundamental principles—in order to foster their manifestation as a pattern integrity 'for successfully regenerating all life aboard our planetary spaceship.'" –Jaime Lawrence Snyder, Lars Müller Fuller Series Editor

A Los Angeles Times 2021 holiday gift guide pick

The work of R. Buckminster Fuller (1895–1983) is among the most extraordinary and inventive in 20th-century design and architecture, not least for its incorporation of a range of intellectual and technical disciplines. Fuller described himself as an “engineer, inventor, mathematician, architect, cartographer, philosopher, poet, cosmogonist, comprehensive designer and choreographer.''

R. Buckminster Fuller: Pattern-Thinking is a major reassessment of Fuller’s legacy in the context of design, examining his singular vision of new conceptual models for design and architecture, alongside his ideas on their potentially world-altering consequences. Drawing extensively on his archive and with over 300 images, the book follows Fuller’s explorations of geometry, language and intellectual property in their relation to design principles and pedagogy, organizing its survey of Fuller’s work through parallel conceptual threads rather than in a linear chronology of his career.

The design gallery's latest triennial celebration of US-made objects that straddle art, design and craft

R & Company’s landmark triennial exhibition and accompanying publication, Objects: USA, returns in 2024, featuring 55 makers from across the United States whose works blur the traditionally understood boundaries of art, design and craft. The exhibition’s curators and the book’s authors, Angelik Vizcarrondo-Laboy and Kellie Riggs, have organized these works into archetypes that engage with makers’ intentions and driving interests rather than categories related to medium, proposing a new conceptual framework for understanding 21st-century objecthood. The book includes a preface by R & Company principals Evan Snyderman and Zesty Meyers, an introduction by curator Glenn Adamson, an essay by the authors and richly illustrated profiles for each of the featured artists.
Artists include: Venancio Aragon, Richard Chavez, Jason McDonald, Ryan Decker, Wally Dion, Nik Gelormino, Joyce Lin, Linda Lopez, Luam Melake, Anina Major, Kim Mupangilaï, Jordan Nassar, Jolie Ngo, Cammie Staros, Matthew Szösz, Norman Teague, Lonnie Vigil, Mallory Weston.

A photographic travelog of Meyerowitz’s yearlong journey across postwar Europe

In 1966, at the age of 28, photographer Joel Meyerowitz embarked on a journey that would take him to the United Kingdom, Ireland, Spain, France, Germany, Eastern Europe, Turkey and Greece. In total, he drove 20,000 miles through 10 countries and ended up taking 25,000 photographs. This trip was a transcendental experience and formative in shaping Meyerowitz's instinctive and brilliant identity that he is known for today. Europa 1966–1967 compiles a selection of photographs taken by Meyerowitz on his yearlong trip through Europe, offering an exciting glimpse of the “New Old World” that, having lately overcome the trauma of World War II, opened itself to modernity and progress. Meyerowitz witnessed societies in transition, stuck between dictatorship and economic blossoming. Yet he also documented unshakable cultural traditions, such as when he lived with a flamenco-performing family in Francoist Spain for six months. The strength and freshness of Meyerowitz’s gaze and the new codes that were captured in these pictures inspired the next generation of photographers.

A unique book embracing the verticality of Sheila Hicks’ work

For decades, Sheila Hicks has engaged with color, texture and verticality, using textiles as her medium of choice. Her unique approach is informed by her interest in architecture, space, historical weaving traditions and innovations in fiber technology. This new bilingual publication (English and French) focuses on her cascading multicolored columns. Building on her earlier work and occupation with verticality, the columns have extended to new and spectacular settings, notably outdoors, refusing any traditional limitations, adapting to various environments, from the Art Gallery of New South Wales to the rocky hills of the French countryside and medieval castles.
Hicks’ work has always been published in innovative formats, a result of her creative collaborations with designers. The book reflects the verticality that is crucial to Hicks’ towering fiber structures. It features stunning reproductions of the columns created by the artist over the last 10 years. The selection culminates in Hicks’ most recent installation, Vers des horizons inconnus in front of the Institut de France during Paris + in 2023. Radical Vertical Inquiries is an eye-popping, design-forward companion to Hicks’ work that shines on its own.

An exquisitely somber portrait of Brooklyn’s Green-Wood cemetery across the seasons

In March 2020, after suffering from a severe bout of Covid, Eugene Richards sought out a safe place to walk and recuperate, and became entranced with Brooklyn’s much-loved Green-Wood Cemetery. Founded in 1837 and proclaimed a National Historic Landmark in 2006, the 487-acre burial ground and arboretum is the final resting place of more than 550,000 people. Over the subsequent years, Richards made nearly 100 visits to Green-Wood, photographing both poetical details and grand vistas in rich color, across the seasons and in all weather, creating lyrical images of snowbound headstones, grand mausoleums, intimate epitaphs, the encroachments of moss on stone and the wear of time on all things. The photographs in Remembrance Garden were taken between April 2020 and September 2023. Richards intersperses his images with names and dates inscribed on grave markers and deeply personal memories, creating a grand and moving portrait of the legendary cemetery.

From Paper Tube Emergency Shelters and his Nomadic Museum built with containers to the Swatch/Omega Campus and the Centre Pompidou-Metz, discover the altruistic practice of the Pritzker Prize–winning architect Shigeru Ban, who is lauded for his “curiosity, commitment, endless innovation, infallible eye, and acute sensibility.”

There has always been a raw immediacy to film posters: provoking and enticing, shocking and seducing audiences across the threshold of the movie theater. The artists tasked with communicating that have been at the forefront of design: groundbreaking visionaries such as Saul Bass and Paul Rand; Eastern European artists using poetic, surreal and often disturbing imagery in highly original and subversive concepts. Other poster artists have woven contemporaneous movements in art and popular culture into their designs, creating a time capsule of the obsessions and concerns of a different era.

Iconic posters for films such as Metropolis, The Man with the Golden Arm, Breakfast at Tiffany’s and Goldfinger sit alongside more unexpected and lesser-known artwork for films such as 2001, Star Wars, Taxi Driver and The Birds. Nearly all cinematic movements are included, from early silent masterpieces through German Expressionism, film noir of the 1940s, 1950s science fiction, the psychedelic imagery of the 1960s, the gritty violence and retribution of the 1970s and 1980s, and then onward into the 21st century, where the stripped-back graphics nod back to the Bass minimalism of the 1950s.

An extraordinary visual compendium, 1001 Movie Posters is the final word on movie posters and a must for film lovers and anyone interested in the power of advertising and design.

Lee Friedlander: Real Estate presents 155 photographs spanning 60 years of the artist's exploration of the built environment in the American social landscape. Collectively, these photographs add to one of the broadest and most nuanced visual depictions of America. Individually, they evince the sly intellectual humor and keen observations for which Friedlander is justifiably celebrated. Along the way, of course, the photographer expands our idea of what constitutes real estate, just as he compels us to recognize photography's ability to reveal essential aspects of our lives over time.

Lee Friedlander was born in Aberdeen, Washington, in 1934, and studied photography at the Art Center College of Design in Pasadena, California. In 1956 he moved to New York City, which quickly became both the setting and subject of the majority of his work. Friedlander was represented alongside Diane Arbus and Garry Winogrand in the 1967 New Documents exhibition at the Museum of Modern Art, now understood as a landmark event in American documentary photography. Friedlander still lives and works in New York, and is represented by the Fraenkel Gallery.

In celebration of one of Kusama’s most iconic infinity rooms

Japanese artist Yayoi Kusama is known worldwide for her polka dots and colorful, immersive light installations featuring unusual and organic forms, such as pumpkins. Present Infinite is a tribute to her beloved and singular practice, with a particular focus on Fireflies on the Water (2002), one of her most famous Infinity Mirror Rooms from the collection of the Whitney Museum of American Art in New York. Fireflies on the Water is a room-sized installation where, as the title suggests, the lights seem almost natural, like fireflies on a quiet summer’s night. The pool of water creates an incredible sense of stillness and the mirrors reflect never-ending images of themselves, creating a sidereal ambience. Space appears infinite, without top or bottom, beginning or end. As in Yayoi Kusama’s early installations, including her Infinity Mirror Room (1965), Fireflies on the Water embodies an almost hallucinatory approach to reality.
Yayoi Kusama (born 1929) has worked not only in sculpture and installation but also painting, performance, video art, fashion, poetry, fiction and other arts. In her early career in Japan, she produced mostly works on paper. With her late-1950s move to New York City, she joined the ranks of the avant-garde, working in soft sculpture and influencing the likes of Warhol and Oldenburg. At this time, she was also involved with happenings and other performance-oriented works and began to deploy her signature dots. Her work fell into relative obscurity after her return to Japan in 1973, but a subsequent revival of interest in the 1980s elevated her work to the canonical status that it still enjoys today.

A meditation on loss, death and nothingness, Salvation is a previously unpublished artist's book by Jimmy DeSana (1949–90), which he conceptualized shortly before his death from AIDS-related illness. While he was unable to fully realize Salvation in his lifetime, he dictated instructions to his longtime friend, the artist and photographer Laurie Simmons, for completing the publication on his deathbed. Due to her recuperative efforts, DeSana’s last major work is now available for the first time.

The volume displays 44 of the artist’s late photographic abstractions, images of relics, body parts, flowers and fruits altered through collage and darkroom manipulations. Both intimate and otherworldly, the works in Salvation function as a quiet counterpoint to the majority of the work generated in response to the HIV/AIDS epidemic, which tended to favor bold political statements.

Five decades of Yau’s diverse poetic collaborations with artists from Pat Steir to Richard Tuttle

The poetry of Chinese American poet John Yau (born 1950) is infused with humor and intelligence. Yau uses a variety of poetic forms to examine aspects of visual art, film and popular culture. His critical writing is celebrated for providing fresh insights about already codified artists and for situating diverse practitioners into historical contexts. Disguise the Limit features numerous works that Yau has created with visual artists during the past five decades. These include paintings, mixed-media drawings, print portfolios, artist’s books and letterpress broadsides. The result of friendships and shared sensibilities, these works reveal the poet’s embrace of both representation and abstraction as foils for language generation. Offering nimble turns of phrase, Zen koans, road sign warnings and fragmented poems, Yau is in his element when operating in the performative time and space that collaboration requires.

Artists include: Jake Berthot, Tom Burckhardt, Norman Bluhm, Pia Fries, Max Gimblett, Judy Ledgerwood, Suzanne McClelland, Malcolm Morley, Ed Paschke, Peter Saul, Pat Steir, Robert Therrien, Richard Tuttle, Chuck Webster.

The first in-depth survey of Whitney’s endless experimentation with color.

The esteemed American painter Stanley Whitney has, for 50 years, created joyful, immersive abstractions characterized by a bold, experimental palette and unique rhythm. Over the last 20 years, he has structured his paintings as loose grids: a consistent framework that frees him to work through seemingly infinite painterly variations and allows viewers to focus not on each painting’s subject, but rather on our own response to color. These large-scale paintings are joined by improvisatory small paintings; drawings and prints, which constitute their own practice for Whitney; and the artist’s sketchbooks, which offer a view into Whitney’s engagement with the written word and politics.
This traveling North American exhibition is Whitney’s first museum survey, presenting 170 paintings and works on paper spanning from the 1970s to the present day. The catalog includes an introduction by exhibition organizer Cathleen Chaffee, scholarly explorations of the artist’s paintings and works on paper, a chronology and illustrations of all works in the exhibition.
Stanley Whitney was born in 1946 near Philadelphia. By the early 1970s, following studies with Philip Guston and Robert Reed, and influenced by artists including Jack Whitten, Josef Albers and Piet Mondrian, he had come to see “endless possibilities” in abstraction. Over the past five decades, he has honed a unique body of densely gridded, but endlessly variable, abstract paintings, as well as drawings and prints, reflecting his interests in art, architecture, textiles and music.

A nuanced profile, in image and text, of the great Black Power leader at the exhilarating moment of the movement’s ascendancy

Gordon Parks’ 1967 Life magazine essay “Whip of Black Power” is a nuanced profile of the young, controversial civil rights leader Stokely Carmichael. As chairman of the Student Nonviolent Coordinating Committee, Carmichael gained national attention and inspired media backlash when he issued the call for Black Power in Greenwood, Mississippi, in June 1966. Parks shadowed him from the fall of 1966 to the spring of 1967, as Carmichael gave speeches, headed meetings and promoted the growing Black Power movement. Parks’ photos and writing addressed Carmichael’s intelligence and humor, presenting the whole man behind the headline-making speeches and revealing his own advocacy of Black Power and its message of self-determination and love.
Stokely Carmichael and Black Power delves into Parks’ groundbreaking presentation of Carmichael, with analysis of his images and accompanying text about the charismatic leader. Lisa Volpe explores Parks’ complex understanding of the movement and its leader, and Cedric Johnson frames Black Power within the heightened political moment of the late 1960s. Carmichael’s own voice is represented through a reprint of his important 1966 essay “What We Want.”

A luxurious publication celebrating 60 years of haute couture from the legendary Maison Valentino

This beautiful publication takes you into the heart of the Maison Valentino with more than 150 collections, from the very first collection by Valentino Garavani to the unforgettable show by Pierpaolo Piccioli staged on the Spanish Steps in 2022. Published to accompany a landmark exhibition in Doha, the book opens with a reimagining of the Maison’s courtyard at the Palazzo Mignanelli, showcasing 34 haute-couture creations in Valentino’s signature red. These are followed by a visual journey through nine galleries, with highlights including Capriccio Romana, a homage to cinema and the city’s urban landscape; a focus on gowns designed for Valentino’s stars, including Zendaya, Lady Gaga, Anne Hathaway and many more; an immersive runway experience from the Valentino Pink PP collection; and finally a dramatic recreation of the Beginnings show, featuring over 60 ensembles by Valentino Garavani and Pierpaolo Piccioli.
The exhibition views are complemented by sketches and catwalk shots printed on different paper stocks and transparent sheets, creating a multilayered tactile experience, inspired by Piccioli’s collection notebooks. With text by curators Alexander Fury and Massimiliano Gioni, and contributions by renowned fashion writers and editors, this book is a must for followers of the much-loved couture house.

"Ebenstein, founder of the Morbid Anatomy Museum in Brooklyn, finds her peculiar subject at the intersection of science and art in 18th-century Florence." –Publishers Weekly

Klein’s madcap romp of a photo-novel brilliantly translates his cult ’60s film into book form.

Based on the original images and dialogue of William Klein’s 1966 film Who Are You, Polly Maggoo?, this fantastic photo-novel tells the adventures of Polly Maggoo, a star model played by Dorothy McGowan (model for Vogue in the 1960s). The plot unfolds across the fashion world of Polly Maggoo; the world of television (based around the character of director Jean Rochefort); and a magical kingdom of operetta whose crown prince (played by Sami Frey) is in love with the young model. Also featuring in this star-studded cast are Alice Sapritch, Delphine Seyrig, Philippe Noiret, Roland Topor and Jacques Seiler.
The publication ingeniously translates into book form the zany universe of the film. Klein’s masterful framing gives exquisite rhythm to its page composition and flow as we follow the crazy adventures of the extraordinary heroine in a madcap race through the streets and rooftops of Paris, all the way up to a distant palace lost in the snow.

A complete survey of Marshall's prints from the 1970s to the present, with many previously unseen works

Kerry James Marshall is famed for his beautifully executed paintings that address the under-representation of the Black figure in the Western pictorial tradition. Though best known as a painter, Marshall has throughout his career also produced a vast graphic oeuvre that has been seldom seen and rarely documented. Marshall spent his youth building his craft in drawing and painting, but also in wood engraving and printing; by his mid-twenties, he recalls, "I could do woodcuts, etchings, aquatints." Most of his prints have been produced not in professional print workshops but by the artist, working alone in his studio. They range from images the size of postcards to his 50-foot-long, 12-panel woodcut Untitled (1998-99), to iterations of his ongoing magnum opus Rythm Mastr. And while some have entered prominent museum collections, many exist only in private collections or the artist's archive and are unknown to the public. This catalogue raisonné offers the first public account of these important works and the first in-depth study of the role of printed images and print processes in Marshall's work as a whole.
Kerry James Marshall was born in Birmingham, Alabama, in 1955, later moving to Los Angeles. He taught painting for many years at the School of Art and Design at the University of Illinois at Chicago. In 2013, he was named for the Committee on the Arts and the Humanities by President Barack Obama. In 2017, Marshall was included on the annual Time 100 list of the most influential people in the world. The National Cathedral in Washington, DC, is currently working with Marshall to create two new stained-glass windows. Marshall lives and works in Chicago.

Our thoughts are known to us, and us alone. But for a brief period in the 1960s, Ted Serios (1918–2006) attempted to prove that his inner reality could be documented. Serios demonstrated an ostensibly psychic act termed “thoughtography,” involving the transfer of mental images onto undeveloped Polaroid film. In studies supervised by respected Denver-based psychiatrist Dr. Jule Eisenbud, Serios produced over 1,000 anomalous photographs, a feat that has never been fully dismissed or wholly verified. Existing as an uncomfortable knot in time, the details of the Serios phenomenon can’t be disentangled without questioning the social conditions that produced it in the first place.
Contextualizing Serios’ story within the twilight zone of 1960s America, Ted Serios: The Mind’s Eye considers the reaches and restraints of belief and explores the multiple dimensions at play in the Serios phenomenon, including interpersonal relationships, scientific methods, photographic technologies, state militaristic operations and popular culture. Rather than seeking absolute truth, the volume allows the reader to arrive at their own conclusions through a series of thematic essays, narrative photographic stories, select ephemera and contemporary cultural artifacts.

Meditations on Picabia across seven decades, from the acclaimed American realist painter. In the 1950s, American painter Philip Pearlstein completed his MA thesis, "The Paintings of Francis Picabia 1908-1930." When his research coincided with Picabia's death in 1953, Pearlstein briefly became the authority on Picabia and his influence, writing three subsequent essays: "The Symbolic Language of Francis Picabia" for Arts magazine (1956); "Hello & Goodbye, Francis Picabia" for Art News (1970); and "When the Dada Daddies Got Real, or How I Turned Picabia Inside Out" for Brooklyn Rail (2017). Pearlstein's articles present a fascinating comparison between Picabia, Duchamp and Pearlstein himself.
Picabia Inside Out brings together Pearlstein's articles in full, including a facsimile of the 1955 MA thesis presented as a historical document showing all the nuances of his typewriter. A foreword by Robert Storr highlights Pearlstein's importance as a precursor to what became known as postmodernism.
Philip Pearlstein (born 1924) is an American painter best known for his modernist realist nudes. Pearlstein has written many articles for major art journals, and his contribution to contemporary art is acknowledged by his many awards and honors.

The first retrospective volume on the photography of the internationally acclaimed Nigerian filmmaker, photographer and music video director Andrew Dosunmu, Monograph looks back at 20 years of previously unpublished and sumptuously colorful portraiture and more, including stills from music videos and the 2022 Netflix film Beauty.

Dosunmu has published his photography with iconic music and fashion magazines such as The Face, Vibe, Fader, Vogue Hommes, Paper and Interview, and has been commissioned by international brands such as Nike and Adidas. Throughout his career, Dosunmu has developed a prolific personal body of work that until now has never been published, though it has been sought after by private collectors and museums. The images compiled in Monograph portray uniquely stylish individuals in Dakar, Mumbai and Cartaghena. United by Dosunmu’s acute instinct for color into a compelling aesthetic vision, these portraits celebrate global culture with tremendous sensuality. The book includes a conversation between Dosunmu and Arthur Jafa.

Andrew Dosunmu is a Nigerian photographer and filmmaker who came to prominence in the US with music videos for various acclaimed artists. He is the director of Hot Irons, Restless City, Mother of George, Where Is Kyra? and Beauty, all of which premiered at the Sundance Film Festival. Dosunmu lives between New York City and Lagos, Nigeria.

Cleanliness is a core value of societies around the globe. With beautiful photography and short, poetical observations, acclaimed author and designer Kenya Hara explores and illustrates the concept of cleaning in all of its aspects: sweeping, dusting, blowing, beating, washing, wiping, smoothing, raking, grooming, purifying, scrubbing, scraping, erasing, scooping, removing and clearing.

From the sorting process a child applies to its toys and the meticulous attention a clockmaker pays to their creations to the impressive feat that is deep-cleaning a ship, each process is treated with the same gentle fascination. The portable book format invites readers to take this publication into the world as they look at these everyday processes with fresh eyes.

Kenya Hara (born 1958) is a Japanese graphic designer, author, curator, professor at the Musashino Art University in Tokyo and art director for MUJI. He has been awarded many prizes, including the Japanese Cultural Design Award. Hara is the author of White, 100 Whites, Designing Design and Designing Japan.

“Every cowboy can instantly call up with fondness … the smell of cattle carried on a dusty wind across sagebrush and juniper, and the feeling of a good horse underneath you as you work together to keep a herd moving,” writes American photographer John Langmore. Langmore began cowboying in 1975 at the age of 12, the same year that his father, Bank Langmore, published the preeminent photo book The Cowboy. John spent 12 summers working across the west before transitioning to a more regulatory career.

Then, in 2012, John began a six-year project photographing 14 of the nation’s largest and most famous ranches in Nevada, Arizona, Texas, Nebraska, New Mexico, Oregon, Montana and Wyoming. Of all those who have photographed the American cowboy, John is one of the few who came to it first as a colleague and then as a photographer. This large landscape book features 90 tritone plates along with Langmore’s own poetic recollections of working as a cowboy. Open Range offers an unrivaled chance to witness a way of life that many dream of, but few experience.

Covering 30 years of sculptures, paintings, works on paper, large-scale wall drawings, installations and site-specific works, this book presents the art of Gary Simmons, one of the most respected artists of his generation. Since the late 1980s, Simmons has played a key role in situating questions of race, class and gender identity within art discourse. He is notable for combining pop-cultural imagery with conceptual artistic strategies to expose and analyze histories of racism inscribed in US visual culture. Over the course of his career, Simmons has revealed traces of these histories in the fields of sports, cinema, literature, music, and architecture and urbanism while drawing on popular genres such as hip-hop, horror and science fiction. His approach is cool and unflinching in its interrogation of historical and cultural narratives, yet the results consistently deliver a strong emotional charge. This publication offers readers the opportunity to gain a holistic understanding of the complex, profoundly moving work of this influential artist.

Gary Simmons was born in 1964 in New York City, where he was raised. Today he lives and works in Los Angeles. He received a BFA in 1988 from the School of Visual Arts, New York, and an MFA in 1990 from the California Institute of the Arts, Valencia; he also studied at Hunter College, New York. He has received numerous awards, including the Studio Museum in Harlem Joyce Alexander Wein Prize (2013), the George Gund Foundation USA Gund Fellowship (2007) and the National Endowment for the Arts Interarts Grant (1990).

Fifty years ago, New York–based photographer Eugene Richards (born 1944) worked as a VISTA Volunteer and then as a reporter in the Arkansas Delta. Even after the newspaper he helped found closed its doors, Richards kept revisiting the region. In early 2019 he returned to the small town of Earle, Arkansas, where, on a September night in 1970, peaceful protesters were attacked by a crowd of white men and women brandishing sticks and firing guns. Crossing the tracks from what had been the Black side of the town into the white side of the town, Richards happened upon an old appliance store. On the shadowy and cracked walls of the building were painted the faces of Jesus, Malcolm X, H. Rap Brown, Angela Davis, Dr. Martin Luther King and John Brown—the faces of revolution, reconciliation, change. In the months that followed, the old store became for Richards a kind of portal, a doorway into the region’s volatile history and into the lives of those who lived, struggled, raised families, grew old and died there.

The Day I Was Born interweaves full-bleed images of Earle with deeply personal narratives in the words of people who live there.

ntricate and appealing, curious and uncanny, miniature works of art exert surprising power. Over thousands of years and across cultures, artists and artisans have created small objects for many purposes: tiny gold amulets of ancient Egyptian gods to protect the wearer; portable European medieval shrines made of precious materials to hold the relics of saints; English and American miniature painted portraits to keep loved ones close; Dutch dollhouse furnishings to display the maker’s skill and the owner’s social standing; pocket-size tools and globes from the age of exploration; Japanese netsuke carved in the shape of auspicious animals; and everyday objects transformed into statement jewelry by contemporary makers.

Tiny Treasures looks closely at more than 75 fascinating miniature objects from across the collections of the Museum of Fine Arts, Boston, exploring their meaning and purpose along with their often dazzling workmanship, and showing that the human impulse to create on a small scale can produce compelling masterpieces.

In 2002, Kara Walker was selected to represent the United States at the prestigious São Paulo Art Biennial. Curator Robert Hobbs wrote extended essays on her work for this exhibition, and also for her show later that year at the Kunstverein Hannover. Because these essays have not been distributed in the US and remain among the most in-depth and essential investigations of her work, Karma is now republishing them in this new clothbound volume.

Among the most celebrated artists of the past three decades, with over 93 solo exhibitions to her credit, including a major survey at the Whitney Museum of American Art, Walker is known for her tough, critical, provocative and highly imaginative representations of African Americans and whites reaching back to antebellum times. In his analysis, Hobbs looks at the five main sources of her art: blackface Americana, Harlequin romances, Julia Kristeva’s concept of abjection, Stone Mountain’s racist tourist attraction and the minstrel tradition.

Robert Hobbs (born 1946) has written more than 50 books and catalogs, focusing on such artists as Milton Avery, Alice Aycock, Lee Krasner, Robert Smithson and Kehinde Wiley. Since 1991 he has held the Rhoda Thalhimer Endowed Chair of American Art in the School of Arts, Virginia Commonwealth University. Since 2004 he has served as a visiting professor at Yale University.

Known around the world for his powerful art and activism, Ai Weiwei (born 1957) does not differentiate between disciplines: his practice glides across art, architecture, design, film, collecting and curating. Richly illustrated with over 200 images, Ai Weiwei: Making Sense is the first major publication to present Ai’s work as a commentary on design and what it reveals about our changing values. It presents a selection of Ai’s collected objects, from ancient stone axe heads to porcelain teapot spouts, from Neolithic tools to modern mass-produced products, as well as new works created specifically for the Design Museum.

These collections draw from the artist’s fascination with historical Chinese artifacts, placing their craftsmanship in dialogue with China’s more recent history of demolition and urban development. Also featured are essays by leading experts covering dominant themes in Ai’s work, such as craft, collecting and the urbanization and industrialization of China. It concludes with an interview between renowned British Israeli architect Eyal Weizman and Ai himself.

Famously the most politicized and intellectual of the Abstract Expressionists, Robert Motherwell (1915–91) evolved a form of austere gesturalism reflective of both the human psyche and the political realm. Robert Motherwell: Pure Paintingoffers an in-depth exploration of his oeuvre—the first publication to do so in many years. Leading art scholars Jennifer Cohen, Susan Davidson, Simon Kelly, Monica McTighe and Sarah Rich examine Motherwell’s turn from Surrealism to abstraction and consider the major series that developed over his 50-year career.

The catalog also studies the dialogue between Motherwell’s art and the 19th-century French painting tradition, and investigates his relationship to Spanish painting techniques and processes, with an emphasis on underlying political significance of this relationship (as expressed in his great series Elegies to the Spanish Republic). Another section looks at Motherwell’s unique use of ocher pigment, with its evocation of deep geological time and of avant-garde strategies.

Published to celebrate the reopening of London’s National Portrait Gallery after a three-year redevelopment project, this engaging and inviting book takes the reader on a chronological journey through Britain’s history in portraiture from the Tudors to now, featuring the country’s most impactful and famous individuals―from Queen Elizabeth I to Mary Seacole, and Virginia Woolf to David Bowie.

The book is richly illustrated with beautiful paintings, photographs, sculptures, drawings and digital works. This selection of the most popular and recognizable portraits from the collection is accompanied by short chapter introductions that introduce key historical periods, their most exciting figures and their most important historical, political, social and cultural moments. This accessible structure allows the reader to dip into any of the beautiful portraits and their stories, and understand their place in British history.

This volume presents sketches and textile designs by the great Russian French modernist artist Sonia Delaunay alongside her paintings and interior and fashion designs. It demonstrates how she transferred her color philosophy of “Simultanism,” which she developed in her painting, to the mediums and surfaces of modern life. Maison Sonia Delaunay also explores the international textile companies with whom she collaborated, and shows how she explored the relationship between art and industry, and the ways in which she used her many abilities to design a visionary modern life. The book includes the first scholarly essays on Delaunay's collaborations with silk industrialist Robert Perrier and couturier Jacques Heim, who were among her most important collaborators.

Born in Odessa, Ukraine, Sonia Delaunay (1885–1979) migrated to Paris in 1906 and became a key figure in the city’s avant-garde scene. During these early years, her paintings underwent a formal shift influenced by the vivid colors of Fauvism. She soon met her husband, fellow artist Robert Delaunay, and the couple pioneered a fusion of Cubism and Neo-Impressionism that they termed Simultanism—abstract painting that uses color in a manner comparable to the use of sound and rhythm in music. In 1964, Delaunay became the first living woman artist to have a retrospective at the Louvre.

Just Above Midtown, or JAM, was an art gallery and self-described laboratory for experimentation led by Linda Goode Bryant that foregrounded African American artists and artists of color. Open from 1974 to 1986, it was a place where an expansive idea of contemporary art flourished and debate was cultivated. The gallery offered early opportunities for artists recognized as pivotal figures in late-20th-century art—including David Hammons, Butch Morris, Senga Nengudi, Lorraine O’Grady and Howardena Pindell—as well as a nonhierarchical approach to art that welcomed artists without stylistic proscription.

Published in conjunction with the first museum exhibition to focus on this visionary gallery and its ongoing impact, Just Above Midtown: Changing Spaces showcases rarely seen material from JAM’s history—artworks, ephemera and photographs—that collectively document the gallery’s communal and programmatic activities. This richly illustrated, jacketed paperback catalog includes essays that contextualize JAM and consider its legacy, a conversation between Goode Bryant and Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem, a complete exhibition chronology written by MoMA and Studio Museum staff with nearly 50 annotated entries, and excerpts from oral histories with JAM staff and artists conducted especially for this project.

This new edition of the Cahiers d’Art Revue was published to accompany Ai Weiwei’s (born 1957) 2019 exhibition at the Galerie Cahiers d’Art on rue du Dragon in Saint-Germain-des-Prés. The issue features a series of unpublished works on paper made from rust, documentation of Ai Weiwei's gigantic Amazon rain-forest project, a long interview with the artist by Hans Ulrich Obrist, an essay by art historian Ingrid D.

Rowland on Ai Weiwei and archaeology, a tribute to the artist’s father, the famous writer Ai Qing, and a text by the collector Uli Sigg. The issue sheds light on the concerns that lie at the heart of Ai Weiwei’s work: antiquity and contemporaneity, East and West, traditional arts and conceptual art, conservation and destruction. As the artist says, “We can replace everything except the past.” Also featured are recent works and projects by Andrea Eriksson, Jonya Ishigami and Monir Shahroudy Farmanfarmaian.

Kehinde Wiley’s acclaimed World Stage series inserts into the language of old master portraiture the very ethnicities and ethnic iconography that western art has most excluded from it, or that western art has portrayed solely in colonial, Orientalist terms. Among the countries and continents he has previously depicted in this ambitious traveling epic are Brazil, Africa, China, India and Sri Lanka.

The rhetoric of Wiley’s paintings is powerful in its compositional candor, color palette and playfulness with constructions of visual meaning; as Paul D. Miller (DJ Spooky) notes, “Wiley’s canvas surfaces are a mirror reflection of America’s unceasing search for new meanings from the ruins of the Old World of Europe and Africa.” This volume includes a selection of new World Stage portraits, focusing on contemporary youth from Jewish-Ethiopian-Israeli, Jewish-Israeli and Arab-Israeli communities.

This three-volume publication explores three distinct phases in the history of the legendary French fashion house founded in 1946. The first volume presents 33 black-and-white images of Dior’s original designs, staged by French photographer Sarah Moon at the Fondation Le Corbusier in Paris during the summer of 2021. It interweaves almost abstract photographs of the Fondation with vivid portrayals of the models. The second volume contains 43 images documenting a selection of garments designed by the various artistic directors of Dior between 1958 and 2015: Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, John Galliano and Raf Simons. The third and final volume presents 38 photographs taken since the arrival of Dior’s current artistic director, Maria Grazia Chiuri.

Sarah Moon (born 1941) grew up between France and England. As a young woman, she started working as a model which plunged her into the world of fashion, a world that would later propel her toward photography, which became her ultimate passion. By 1970, she had devoted herself exclusively to photography and her work was published in numerous magazines. Robert Delpire hired her to make photographs for his advertising agency and they subsequently became lifelong romantic partners. Moon is famous for her blurred aesthetic, use of Polaroids, halftone photos and erasure of faces.

Created in his off-hours on the weekend and in part inspired by the modern artists of his day, Jack Stauffacher’s exquisite prints demonstrate what wood type can do when released from its role in traditional communication and instead used to explore letters as pure form. In the resulting abstract, dynamically composed, often lushly layered prints, Stauffacher reclaims typography as a subject fit for the gallery wall.
Featuring 500 images (most of which have never appeared in a publication before) and essays by collaborators from the worlds of art and typography, Only on Saturday is the first trade book to document the work of one of the past century’s great typographers and printers―and offer the compelling backstory behind its creation.

Born in 1920 in San Mateo, California, Jack Stauffacher was a printer, typographer and fine-book publisher whose delicate yet graphic sensibility landed his work first in library rare book collections and then in museums such as SFMOMA and LACMA, who sought out his typographic prints. A printer of exceptional skill who began his apprenticeship at the age of 16, Stauffacher created books for his Greenwood Press off and on for eight decades.

He taught typography at Carnegie Mellon and the San Francisco Art Institute, and served as typographic director at Stanford University Press. But it was his later wood type prints that ushered his career into the realm of fine art. Stauffacher created these innovative and elegant prints from 1966 until his death in 2017 at the age of 96. In recognition of his contributions to typography and design, he was awarded an AIGA Medal in 2004.

Spanning nearly 1,000 years of artistic creativity, this wide-ranging volume brings together 206 artworks that exemplify both exquisite aesthetics and rich cultural histories. The majority of the collection is from the American Southwest―19th-century Navajo weavings, ancestral and historical Pueblo pottery, Hopi and Zuni carved figures, and Yavapai and Apache basketry―along with art from the Pacific Northwest and the first Plains ledger drawings to enter the museums' collections.

This book, which features new research and specially commissioned essays and extended captions, developed in collaboration with cultural advisors, reflects the complex and multilayered nature of the artworks in the field of Native American art. Contributions from more than 80 authors from different disciplines and cultural backgrounds, including scholars, culture-bearers, artists, collectors and museum professionals, illuminate details about the living histories of the works. With striking new photography and full-color reproductions, this is a cornerstone publication in the field of Native American art history.

This magnificent volume features a remarkable collection of largely unseen photographs of the Beat Generation by renowned Magnum photographer Burt Glinn. This amazing, untouched treasure trove of images was discovered when Reel Art Press was working with Burt Glinn’s widow, Elena, on a larger retrospective of Glinn’s work. Archived with the negatives was a short essay by Jack Kerouac entitled "And This Is The Beat Nightlife of New York," which is published here alongside the photographs. The book features black-and-white shots, and also—uniquely, for images of this era—more than 70 in color. An extremely rare find, these photographs capture the raw energy of the Beat Generation in a way that has never been seen before in print.

The photographs were shot between 1957 and 1960 in New York and San Francisco and feature nearly everyone involved in the scene, including writers and artists such as Allen Ginsberg, Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, LeRoi Jones, Jay DeFeo, Wally Hedrick and many more. Glinn was celebrated for his extraordinary talent as a social documentary photographer, and during his time with the Beats his camera captured the spirit of the counterculture—writers, musicians and artists meeting in cafes, bars and parties pursuing a truth and future the mainstream would and could not acknowledge.

This exquisite tome is an intimate and fresh insight into the lives of the legendary and influential bohemians and a celebration of Glinn’s inimitable talent.

Bringing together the sensibilities of two remarkable artists, Peter Hujar Curated by Elton John provides striking proof of how one artist’s eye can shed light on another. Though known worldwide as one of the most revered performers of our era, Elton John is also a seasoned collector of photographs, with an acute and personal understanding of Hujar’s achievement.

Through a selection of 50 photographs, the book presents a wide-ranging survey of Hujar's career. John writes: “Hujar's humanity, depth and sensual insights aren't for everyone, and don't need to be, but once his pictures get into your bloodstream they are impossible to shake.” The publication includes works spanning nearly two decades, featuring portraits of Hujar's eclectic circle of friends, his landmark nudes, atmospheric landscapes, portraits of performers (Stevie Wonder, Peggy Lee and Edgar Winter) and a moving image of the artist with his mother.

This is the first major survey of artist and fashion designer Cinzia Ruggeri (1942–2019), a unique figure of Italian postmodernism who moved freely across disciplines. From clothing and accessories to furniture and lighting—as well as sculptural installations often including these objects—Ruggeri created worlds that were continually imaginative, provocative, elegant and unpredictable. Ruggeri founded her own fashion line in 1977 and immediately became known for her use of architecture and geometry, such as the ziggurat and representations of the shape of Italy. During her lifetime she also worked and collaborated with Brian Eno, Occhiomagico, Alessandro Mendini, Casa Vogue, Maison Carven and Studio Alchimia. This catalog offers the most complete overview of Ruggeri’s career, thanks to research conducted by MACRO (Museum of Contemporary Art of Rome) in collaboration with the Archivio Cinzia Ruggeri in Milan.

Between 1973 and ’76, Mitch Epstein (born 1952) photographed in American cities—New York, Los Angeles and New Orleans, among others. He was initially shooting in black and white as a student of Garry Winogrand, when he asked his teacher, “Why not color?” With Winogrand’s blessing, Epstein shot his first rolls of Kodachrome. Silver + Chrome is a chronicle of his three years alternating between color and black and white, before eventually committing to color.

This book contains Epstein’s earliest work, virtually none of which has been seen before. In these kinetic tableaux, the artist’s exuberance is tamed, just barely, by his formal intelligence. He depicts American city life as it undergoes taboo-shattering sexual liberation, economic crises and the repercussions of a boondoggle war in Vietnam, immersing us in the urban chaos of this complicated time.

Tamara Shopsin’s classic 5 Year Diary 

Designed by Shopsin--whose illustration work is regularly featured in The New York Times--and produced by The Ice Plant and Shopsin’s General Store, the pint-sized 5 Year Diary helps you keep track of the next 60 months of your life in just a few lines a day. Each page of the diary is devoted to one day of the year and subdivided into five sections (each with its own space for notes), so that, as time goes by, past entries can be read as the new ones are written.

Handsomely clothbound with a red ribbon bookmark, the diary can be started on any day of any year--even a leap year. In the back of the diary are pages to record the books you’ve read and places you’ve traveled. As New York magazine’s Kendall Herbst noted, the 5 Year Diary is an ideal gift for anyone, anytime, as well as the perfect way to “trace your life’s highlights and trim out the minutiae… Think of it as a sort of CliffsNotes to your life."

This book provides a comprehensive overview of the fabric works from the last two decades in the career of legendary artist Louise Bourgeois (1911–2010). “I’ve always had a fascination with the needle,” she once said, “the magic power of the needle. The needle is used to repair damage. It’s a claim to forgiveness.”

This body of work began when the artist started incorporating clothes from all stages of her life into her art, and later expanded to include a range of other textiles such as bed linen, handkerchiefs, tapestry, and needlepoint. The fabric works mine the themes of identity and sexuality, trauma and memory, guilt and reparation, and serve as metaphors for emotional and psychological states.

The catalog—which accompanies the exhibition at the Hayward Gallery, London, and the Gropius Bau, Berlin—features works from numerous series, including the monumental Cell installations, figurative sculptures and abstract drawings.

Shabazz began making portraits in the mid-1970s in Brooklyn, Queens, the West Village and Harlem. His camera was also at his side while working as an officer at Rikers Island in the 1980s, where he took portraits of inmates. This book features selections from over a dozen albums, many previously unseen, and includes his earliest photographs as well as images taken inside Rikers Island, all accompanied by essays that situate Shabazz’s work within the broader history of photography.

Born and raised in Brooklyn, Jamel Shabazz (born 1960) picked up his first camera at the age of 15 and began documenting his communities, inspired by photographers such as Leonard Freed, James Van Der Zee and Gordon Parks. His work has been featured in numerous solo and group exhibitions, including those at the Brooklyn Museum, the Studio Museum in Harlem, the J. Paul Getty Museum and the Victoria and Albert Museum. Shabazz is the author of Back in the Days (2001) and Sights in the City (2017).

At 18, Corita Kent (1918-86) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a 35-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass.

More recently, she has been increasingly recognized as one of the most innovative and unusual Pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and making some of the most striking--and joyful--American art of her era, all while living and practicing as a Catholic nun. This first study of her work, organized by Julie Ault on the 20th anniversary of Kent's death, with essays by Ault and Daniel Berrigan, is the first to examine this important American outsider artist's life and career, and contains more than 90 illustrations, many of which are reproduced for the first time, in vibrant, and occasionally Day-Glo, color.

In 1964, after three decades of living and working in Harlem, Bearden took up collage, cutting and combining found images and photographs to achieve new combinations defined by their fragmentation, texture, and layered depth. He used this approach to capture the complex facets of Black experience in the United States, often depicting scenes from everyday life in the rural South, which many African Americans left to move to northern cities during the Great Migration (1916–70), and scenes from Harlem. Throughout his career, Bearden reworked his own images in different mediums, including this collage, which is shown alongside a later photo reproduction.

The first monograph on the architectural sculptor and installation artist and long-time collaborator with the New York School poets

Best known for creating large-scale installation work inspired by American vernacular architecture, Dennis finds beauty in places shaped by ordinary people, which become repositories for memory and feelings. Her seemingly familiar yet often darkly mysterious sites evoke memories, encourage reflection, and allude to the transient nature of life. This book contextualizes Dennis’s work within contemporary art and the women’s movements and traces the arc of her career, tracing the evolution of her architectural sculpture over more than forty years, exploring her artistic collaborations with poets, and presenting her most recent work, a series of gouaches and dioramas, for the first time.

A conversation between Dennis and painter Rackstraw Downes brings to life the artist’s influences through her own words. With insightful text by feminist art scholar Helaine Posner, plus commentary from Dennis on the sources and process of creating the work, this book is an essential addition to the libraries of collectors and art historians interested in the architectural sculpture movement of the 1970s, and all those interested in feminism in art.

• Format: Hardback
• Size: 289 × 213 mm (11.5 × 9.5 in)
• Pages: 224 pp
• Illustrations: 250 illustrations

The third in an imaginative series of small books, each of which offers a charming dinner menu.  There is an emphasis on reducing food waste by thoughtful use of ingredients, and on careful preparation to prevent last minute fuss.

There are twelve different recipes in this small book (5" x 7", 36 pages). In addition to Voll's notes on shopping and cooking ahead, there is also a short rumination on preserving that may include the first reference to Homer we've seen prefacing a jam recipe.

Menu No. 3 offers recipes for

• Gin Cocktail
• Grilled Lobster with Parsley and Scallion Butter
• Charred Vegetables with Creamy Scallion Dressing
• Hush Puppies
• Green Salad
• Olive Oil Gelato with Tomato Jam
• a bonus

As for author Brian Voll, a self-taught, trial-and-error, home cook, he says,

I was born in Indiana to a mother who loved to cook and considered her kitchen a laboratory to try any and every interesting or unusual recipe that she came across. Her five children were her guinea pigs, and when a recipe turned out, we ate very well. When a recipe didn’t turn out, we ate a lot of pizza.

Since moving to New York ages ago, I’ve been recreating that dynamic among my chosen family in my little kitchen. Each of my cookbooklets is a distillation of a really good night when everybody ate very well, when the recipes I’d been tinkering with finally came together. The series is as much a memoir as it is a collection of recipes. Embedded within each page are the kinds of things I like to cook—inspired by travels around the world and New York City, rooted in my friends and family, and grounded in how I think about cooking: solving the puzzle for maximizing flavor and minimizing waste.

My hope is that these stories inspire people to take pleasure in home cooking with good friends.

SALE: Faded cover.  FINAL SALE  

Incorporating both formal details and welcoming elements, a sophisticated and balanced look tailored to a sense of home, as shown through the portfolio of Foley & Cox

Foley & Cox is a New York-based interior design firm renowned for serene spaces subtly layered with color and texture that create a sense of welcome and comfort. Taking creative cues directly from their clients–their perceptions, preferences, and passions–the firm creates serene interiors infused with personal style.

This elegant book presents 24 homes, ranging from elegant prewar apartments in Manhattan to retreats in the Hamptons and summer places along the coast of New England and in Europe, and even to a private jet and a yacht that cruises the Mediterranean. What unites these spaces is an overall balance and elegance, infused with luxurious fabrics in subtle tonal variations and a judicious use of highlight color, often in the artwork and accessories. Founder Michael Cox is a master at creating settings for art collections and selecting distinctive vintage pieces that add a sophisticated touch to the rooms.

Specifications:

• Format: Hardback
• Size: 304 × 241 mm (12 × 9.5 in)
• Pages: 248 pp
• Illustrations: 220 illustrations
• ISBN: 9781580936163