 is the first English translation of Franz Xaver Kroetz’s 1971 stage play

, part of a trilogy of radio plays from 1971 titled Trilogie Münchener Lebens. In his introduction to this book, Christopher Williams writes that “Inklusive consists of seven scenes of tightly scripted, sparsely rendered dialogue in regional Bavarian dialect...following the activities and conversations of a working-class West German couple on a prepaid all-inclusive vacation package in Italy. We are presented with a standardized list of tourist activities (sunbathing, morning walks on the beach, boat rides, picture-taking, and outdoor concerts) that are included in the program into which the couple has been inscribed.” Williams Studio along with Maximilian Klemens Sänger produced this translation as part of his ongoing research into Kroetz’s theatrical work for theatre, radio, and television.

Christopher Williams, Inklusive Franz Xaver Kroetz, 1971

Christopher Williams: Inklusive Franz Xaver Kroetz 1971

Nicholas Fox Weber

Anni & Josef Albers: Equal and Unequal, Phaidon, 2020

A spectacular and unprecedented visual biography of the leading pioneers and protagonists of modern art and design

Josef - painter, designer, and teacher - and Anni Albers - textile artist and printmaker - are among the twentieth century's most important abstract artists, and this is the first monograph to celebrate the rich creative output and beguiling relationship of these two masters in one elegant volume. It presents their life and work as never before, from their formative years at the Bauhaus in Germany to their remarkable influence at Black Mountain College in the United States through their intensely productive period in Connecticut.

Accessibly written, the book is packed with more than 750 artworks, archival images, and documents - many published here for the first time - all tracing the remarkable lives and careers of this legendary couple.

Dispersed throughout area series of short essays on artists that focuses on the Alberses relationship with a number of important artists and architects of the 20th century, like Ruth Asawa, Marcel Breuer, Merce Cunningham, Philip Johnson, Paul Klee, Jacob Lawrence, and many more.

The beautifully cloth-bound package utilizes an elegant color palette and design that speaks to the work of both artists. This comprehensive visual biography showcases the artists' rich and dynamic lives, and their infinite influence on each other, as they shared the profound conviction that art was central to human existence.

Anni & Josef Albers: Equal and Unequal

"The godfather of colour photography has released a new photo book, shedding light on a little-known facet of his output—his sumptuously sun-drenched Polaroids.” –Daisy Woodward, AnOther

This book is a facsimile of an album of Eggleston's Polaroids assembled by the photographer himself, and containing the only photos he made in this medium. Consisting of 56 images taken with the Polaroid SX-70 (the now cult camera produced between 1972 and 1981) and hand-mounted in a black leather album also produced by the company, 

 is the first publication of Eggleston's Polaroids.

The gloriously mundane subjects of these photos—a Mississippi street sign, a telephone book, stacked crates of empty soda bottles—is familiar Eggleston territory, but, fascinatingly, all of these Polaroids were taken outdoors. They are rare records of Eggleston's strolls or drives in and around Mississippi, complementing the majority of his work made with color negative film or color slides, and showing his flair for photo-sequencing in book form.

William Eggleston: Polaroid SX-70

A painting by Michael Armitage, titled Enasoit, dated 2019.

Portrait of Michael Armitage, 2021. Photo by Tom Jamieson

Edited by Anna Schneider, with contributions by Elsbeth Court, Imraan Coovadia, Anna Schneider and Dimona Stöckle; and a conversation between Michael Armitage and Don Handa

 highlights pivotal series by the painter Michael Armitage and positions his body of work within East African painting and sculpture of the 20th century. His wide array of subject matter ranges from the relationship between humans and animals, and political events in his native Kenya, to European landscape traditions in opposition to an East African understanding of nature. With large-format oil paintings on 

bark cloth, the British-Kenyan painter joins motifs and artistic traditions from Europe and East Africa in a variety of ways, upsetting visual stereotypes and an excepted balance of power in the process.

Michael Armitage: Paradise Edict

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

Éric de Chassey

Su Wei

Spotlight Series

Texts by Su Wei, Luc Tuymans, and Éric de Chassey

Widely credited with having contributed to the revival of painting in the 1990s, Belgian painter Luc Tuymans continues to expand our understanding of the medium. Sourcing imagery from books, magazines, films, the internet, and increasingly his own iPhone photos, Tuymans’s unique selection of subject matter reveals his fascination with moral complexities.

Exploring diverse and sensitive topics, many of which include historic references from World War II to more contemporary events such as 9/11, Tuymans presents imagery that at first seems innocuous or approachable but upon deeper inspection can be entirely unsettling. Achieved through his masterful handling of paint, his works are often suggestive of memories or familiar people, places, and things.

, which focuses on new bodies of work by contemporary artists, Tuymans continues to take on increasingly complex subject matters in his primarily muted palette. Published on the occasion of the artist’s 2020 solo exhibition at David Zwirner Hong Kong, this book features an essay by art critic Su Wei, who approaches Tuymans’s newest paintings and how they expand his oeuvre.

Out of stock

Luc Tuymans: Good Luck

Isabelle Dervaux

Lawrence Rinder

Lindsey Tyne

Colin B. Bailey

Text by Isabelle Dervaux. Contributions by Lawrence Rinder and Lindsey Tyne. Foreword by Colin B. Bailey

Featuring more than ninety drawings and many sketchbook pages that span Al Taylor’s entire career, this book documents the artist’s important achievements as a draftsman.

This book investigates important and illuminating aspects of Al Taylor’s drawings, which numbered over five thousand at the time of his death. It includes a chronological survey of Taylor’s drawings from the mid-1970s to the late 1990s, highlighting the combination of technical refinement, humor, and sensuousness that characterizes his works on paper. Stunning reproductions of the works, which were inspired by such ordinary things as tin cans, pet stains, and broomsticks, reveal the drawings’ minute details, nuanced shading, and playfully agile pencil lines. Lively texts explore how the rich and complex visual sensibilities of Taylor’s drawings resonate with that of late Renaissance and Baroque Old Masters. The book also examines Taylor’s innovative approach to process and materials, such as photocopier toner, with its intense black, and the extreme white of correction fluid. Created with equal parts humor and technical virtuosity, and informed by scientific models as well as everyday minutiae, Al Taylor’s magnificent drawings are meditations on form and structure that stand as testament to great draftsmanship.

The Drawings of Al Taylor

Ann Temkin

Erica Cooke

Tamar Margalit

Chirstine Mehring

James Meyer

Annie Ochmanek

Yasmil Raymond

Jeffrey Weiss

Edited with text by Ann Temkin. Text by Erica Cooke, Tamar Margalit, Christine Mehring, James Meyer, Annie Ochmanek, Yasmil Raymond, and Jeffrey Weiss

Published to accompany the first US retrospective exhibition of Donald Judd’s sculpture in more than thirty years, 

 explores the work of a landmark artist who, over the course of his career, developed a material and formal vocabulary that transformed the field of modern sculpture.

Donald Judd was among a generation of artists in the 1960s who sought to entirely do away with illusion, narrative, and metaphorical content. 

 surveys the evolution of his work, beginning with his paintings, reliefs, and handmade objects from the early 1960s; through the years in which he built an iconic vocabulary of works in three dimensions, including hollow boxes, stacks, and progressions made with metals and plastics by commercial fabricators; and continuing through his extensive engagement with color during the last decade of his life. This richly illustrated catalogue takes a close look at Judd’s achievements, and using newly available archival materials at the Judd Foundation and elsewhere, expands scholarly perspectives on his work. Essays by curators and scholars address subjects such as his early beginnings in painting, the fabrication of his sculptures, his site-specific pieces, and his work in design and architecture.

Judd

Text by Donald Judd. Edited by Flavin Judd, Rainer Judd, and Judd Foundation

This book presents an unprecedented visual survey of the living and working spaces of the artist Donald Judd in New York and Texas.

Filled with newly commissioned and previously unpublished archival photographs alongside five essays by the artist, this book provides an opportunity to explore Judd’s personal spaces, which are a crucial part of this revered artist’s oeuvre. From a 19th-century cast-iron building in Manhattan to an extensive ranch in the mountains of western Texas, this book details the interiors, exteriors, and lands surrounding the buildings that comprise Judd’s extant living and working spaces. Readers will discover how Judd developed the concept of permanent installation at Spring Street in New York City, with artworks, furniture, and decorative objects striking a balance between the building’s historic qualities and his own architectural innovations. His buildings in Marfa, Texas, demonstrate how Judd reiterated his concept of integrative living on a larger scale, extending to the reaches of the Chinati Mountains at Ayala de Chinati, his 33,000-acre ranch south of the town. Each of the spaces was thoroughly considered by Judd with resolute attention to function and design. From furniture to utilitarian structures that Judd designed himself, these residences reflect Judd’s consistent aesthetic. His spaces underscore his deep interest in the preservation of buildings and his deliberate interventions within existing architecture.

Donald Judd Spaces

This artist's book was made on the occasion of the exhibition 

Christopher Williams: Footwear (Adapted for Use)

Christopher Williams: Model 38

Michael Glover

Celebrated British painter Rose Wylie—whose works are at once tactile, cerebral, and humorous—often draws her influence from a wide range of popular culture. Here her newest body of work references memories from her own life and mimics the way memories evolve and change over time.

Wylie’s source material is culled from the vast visual world around her, ranging from sixteenth-century British estates to Serena Williams and the French Open. While initially these may seem random or aesthetically simplistic, through the nuanced use of humor, language, and compositional structure, Wylie creates wittily observed and subtly sophisticated meditations on the nature of memory, and visual representation itself, in line with the paintings she has become known for over the course of her career.

A new essay by art critic Michael Glover explores the remarkable painter whose work has “spark, assurance, brash humor, an extraordinary, freewheeling eclecticism that seems to be just as ready to suck in references to the art of Ptolemaic Egypt and Roman portraiture as to pay homage to the films of Quentin Tarantino and the late paintings of Philip Guston.” Part of David Zwirner Books’s 

, this book features Wylie’s newest paintings and drawings and is published on the occasion of the artist’s 2020 solo exhibition of these works at David Zwirner Hong Kong.

Rose Wylie: Painting a noun (Bilingual)

Walter Price, 2024. Photo by Walter Price

Walter Price: The Story Was Full of Marvelous Happenings, Karma, 2019

A handsome suite of expressionistic, semi-abstract works on paper

The latest book from New York–based painter Walter Price (born 1989) brings together 34 recent works on paper that employ the same iconic imagery, intimate scale and dreamlike compositions of both abstraction and figuration that are found in his paintings.

Walter Price: The Story Was Full of Marvelous Happenings

An installation by Huma Bhabha, titled We Come in Peace, at the Metropolitan Museum of Art in New York, dated 2017.

Edited by Eva Respini. Contributions by Carter E. Foster, Ed Halter, Jessica Hong, Shanay Jhaveri, Huma Bhabha and Sterling Ruby

A comprehensive overview of more than two decades of Huma Bhabha’s prolific and multidisciplinary output in sculpture, drawing, and photography.

Huma Bhabha (b. 1962 in Karachi) is known for sculptures depicting the human figure fashioned from materials ranging from clay, brick, and wood to Styrofoam, bronze, found objects, and construction materials. Such works reveal her myriad influences, including horror films, science fiction, ancient artifacts, religious reliquaries, and Neo-Expressionism. This handsome volume surveys over two decades of Bhabha’s innovative sculptures, as well as her lesser-known but essential work in drawing, photography, and printmaking, all while considering her singular engagement with the human figure. Illustrated essays investigate the artist’s prolific and multidisciplinary output, her historical and cultural reference points, and her frequent themes, such as war, colonialism, displacement, and the memory of home—in the artist’s words, these are “eternal concerns” found across all cultures. A conversation between Bhabha and American artist Sterling Ruby offers an intimate point of entry into Bhabha’s perspectives and artistic practice.

Huma Bhabha: They Live

Caldecot Chubb

 is a facsimile of the third of William Eggleston’s rare artist’s books, which was first published in an edition of only fifteen by Caldecot Chubb in New York in 1978. The original 

 was a linen-bound volume with red leather spine and corners recreating the look of a photo album, and housed in a slipcase. Within its pages were twelve original chromogenic coupler prints focused on the theme of flowers.

Flowers, along with trees and other foliage inevitably feature in many of Eggleston’s photos as part of the Memphis streetscapes and interiors that are his favorite motifs. But in this book the flowers take center stage in all their mundane glory—be it a kitsch spray of gladioli and carnations in a cut-glass vase, a single rose before a box hedge, or a forlorn bunch on a white marble tomb inscribed with the word “Mama.” Along with Eggleston’s 

 is a further chapter in Steidl’s publication of Eggleston’s artist’s books in new editions that honor the design and spirit of the originals, while exposing their contents to the wider public for the first time.

12 color photographs printed on Phoenixmotion Xantur 115gsm paper from Scheufelen paper mill, mounted on Somerset Book 115gsm paper from St. Cuthbert Mill with PVA adhesive. The type, has been set in Monotype Dante, in reference to Katy Homans’ original design for William Eggleston´s 1978 book.

William Eggleston: Flowers

ekphrasis

A laugh-out-loud visual history of the strangest piece of men’s clothing ever created: the codpiece.

The codpiece was fashioned in the Middle Ages to close a revealing gap between two separate pieces of men’s tights. By the sixteenth century, it had become an upscale must-have accessory. This light-hearted, illustrated examination of its history pulls in writers from Rabelais to Shakespeare and figures from Henry VIII to Alice Cooper. Glover’s witty and entertaining prose reveals how male vanity turned a piece of cloth into a bulging and absurd representation of masculinity itself. The codpiece, painted again and again by masters such as Titian, Holbein, Giorgione, and Bruegel, became a symbol of royalty, debauchery, virility, and religious seriousness—all in one.

Centuries of male self-importance and delusion are on display in this highly enjoyably new title. Glover’s book moves from paintings to contemporary culture and back again as it charts the growing popularity of the codpiece and its eventual decline. The first history of its kind, this book is a must-read for art historians, anthropologists, fashion aficionados, and readers looking for a good, long laugh.

Thrust: A Spasmodic Pictorial History of the Codpiece in Art

Raoul De Keyser, 2009. Photo by Christophe Vander Eecken

Edited with text by Martin Germann, and Bernhard Schwenk. Texts by Steven Jacobs, Luk Lambrecht, and Philippe Van Cauteren

From his debut in 1964, the widely beloved Belgian painter Raoul De Keyser pursued and developed a unique compositional sensibility in which distinctions between abstraction and figuration were to dissolve in an intimate, humble sensation of “everydayness.” His modestly scaled paintings featured simple but elusive shapes often rendered in a broadly pastel palette, full of gentle sensuality.

This 240-page volume accompanies the first posthumous retrospective exhibition on De Keyser at S.M.A.K., the Municipal Museum of Contemporary Art in 2018, and is conceived as the new standard De Keyser monograph. Alongside a detailed account of the development of his art, it contains a comprehensive illustrated chronology, as well as a revelatory chapter on his drawing and photography. Friends and admirers of De Keyser’s, such as Tomma Abts, Maria Eichhorn, Werner Feiersinger, Suzan Frecon, Roland Jooris, Thomas Scheibitz, and James Welling, contribute comments on his life and work.

Raoul De Keyser: Oeuvre

14.08.041_mama-mummy-and-mamma-predecessors-2_splash_1

Portrait of Njideka Akunyili Crosby. Photo by Stefan Ruiz

Edited by Ian Berry and Steven Matijcio. Interview by Ian Berry. Essays by Malik Gaines and Steven Matijcio

 unites works from the artist’s Predecessors series. Investigating the confluences, contact zones, and third spaces of culture, Akunyili Crosby represents the people and places closest to her: the women of her family, her partner, the interiors of her grandmother’s home and her own. Even in the midst of such personal themes, Akunyili Crosby opens these painted worlds to her viewers, and invites them to reflect upon their own experiences, memories, and emotions.

Njideka Akunyili Crosby: Predecessors

Mamma Andersson, 2023. Photo by Pierre Björk

The paintings by Mamma Andersson on these pages are mostly new works, many of them from the exhibition she curated at the São Paulo Art Biennial. With this publication the intention has been to reveal Andersson’s work in a new context, outside the walls of a gallery, alongside two photographers—Hanna Moon and Martina Hoogland Ivanow—inspired by her universe. As Mamma says of the titles of her works, our wish is “to provide viewers with a platform to direct their thoughts onto a track that they hadn’t thought of...” Hanna Moon, the South Korean artist and fashion photographer, joins Mamma Andersson in Brazil as she installs her exhibition at the 2018 Bienal de São Paulo. Moon’s photographic project is the antithesis of reportage, a personal investigation of her experience of the city. Her confrontational work may appear on first glance to be a million miles from Andersson’s, and yet in its tone, intimate but also unfamiliar and disturbing, we perhaps trace reverberations of Andersson’s universe.

Mamma Hanna Martina: Text Paintings Photos

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

Legendary Chicago-based painter Kerry James Marshall is as much an astute social critic and incredible authority on art history as he is a painter’s painter. In addition to reproductions of paintings, this book presents the text of a speech Marshall gave at Museum Ludwig in Cologne, Germany, upon receiving the Wolfgang Hahn Prize in 2014, a prize awarded annually to artists who have an “oeuvre that has consistently and substantially continued to develop and is recognized by international experts.”

In the lecture he talks about his life, about his interest in Afro-American culture, about social injustice, race relations, power dynamics, and ultimately calls for the black subject, so long ignored in art history, to finally be represented—in reaction to the fact that beauty has been synonymous with being white through almost all of art history.

Kerry James Marshall: Inside/Out

A detail from a work by Bridget Riley, titled Study for Measure for Measure Dark 2, dated 2019.

Portrait of Bridget Riley, 2021. Photo by Yuki Shima

Robert Kudielka

Richard Shone

Neil MacGregor

E.H. Gombrich

Michael Craig-Martin

Andrew Graham-Dixon

Bryan Robertson

Edited by Robert Kudielka. Introduction by Richard Shone. Conversations with Bridget Riley, Neil MacGregor, E.H. Gombrich, Michael Craig-Martin, Andrew Graham-Dixon, Bryan Robertson

Bridget Riley is one of the outstanding figures of modern painting. She has pursued a course of rigorous abstraction for over fifty years, from her celebrated black and white Op Art works in the 1960s to the complex color paintings of the 1990s. On the occasion of a major exhibition of her work in 1992 at London’s Hayward Gallery, BBC Radio broadcast a series of five dialogues, each one between Riley and a well-known figure from the art world. These encounters, edited by an art historian, are contained in this book. With Neil MacGregor, Riley discusses the art of the past in relation to the art of the present; with Sir Ernst Gombrich the perception of color in painting; with the artist Michael Craig-Martin, the theory and practice of abstraction; and with the critics Bryan Robertson and Andrew Graham-Dixon, she talks about events and travels that have influenced her as an artist. Taken as a whole, this series forms an excellent introduction to the work and ideas of one of the most creative minds of today.

Bridget Riley: Dialogues on Art

Michael Bracewell

John Elderfield

Dave Hickey

Text by Michael Bracewell, Éric de Chassey, John Elderfield, Dave Hickey, Robert Kudielka, Bridget Riley, Richard Shiff, Frances Spalding, David Sylvester, and David Thompson. Foreword by Dr Simon Groom, Sir John Leighton, and Ralph Rugoff

A landmark exhibition catalogue reflects on almost 70 years of works by Bridget Riley, from some of her earliest to very recent projects, providing a unique record of the work of an artist still very much at the height of her powers. Essays from leading scholars and commentators on Riley’s work will make this title the authority on Riley’s practice.

Includes a selection of critical writings, statements and conversations specially selected by the artist as well as her own writings. The book starts with David Sylvester’s review of her first exhibition in 1962 and ends with Éric de Chassey’s newly commissioned 2019 essay.

In the last decade, Riley has continued to push her practice considerably, producing several large-scale site-specific wall paintings as well as continuing to develop new paintings. This book will explore these recent developments, and also examine the notable influence that other artists such as Georges Seurat and Piet Mondrian have had on Riley’s work.

Bridget Riley

A sculpture by Ruth Asawa, called Untitled (S.175, Hanging Single-Lobed, Four-Layer Continuous Form within a Form), dated c. 1992.

This lushly illustrated book by collage artist Andrea D'Aquino brings Asawa's creative journey to life, detailing the influence of her childhood in a farming family, and her education at Black Mountain College where she pursued an experimental course of education with leading avant-garde artists and thinkers such as Anni and Josef Albers, Buckminster Fuller, Merce Cunningham, and Robert Rauschenberg. Delightful and substantial, this engaging title for young art lovers includes a page of teaching tools for parents and educators.

The Story of Ruth Asawa

A Life Made by Hand

Okwui Enwezor

Interview with the artist by Okwui Enwezor

Over the course of his three-decade career, Thomas Ruff has taken up many approaches to photography in his investigation into the status of the image in contemporary culture.

, the artist presents new work that continues his ongoing probe into the history, processes, techniques, and technology of photography. One of the most influential artists working with photography today, Ruff has redefined the medium’s conceptual possibilities, simultaneously capturing and challenging the essence of the medium as a means for visual experience. He has investigated various photographic genres, including portraiture, the nude, and landscape and architectural photography, using both analog and digital technologies, and culling imagery from scientific archives, print media, and the internet.

Presented here is a selection of Ruff’s most well-known works, as well as the newer 

 series, begun in 2018, which draws on negatives of India and Burma taken in the 1850s by Captain Linnaeus Tripe, an officer in the East India Company. Also included is a conversation between Ruff and Okwui Enwezor, which took place at Haus der Kunst in Munich, in connection with the artist’s retrospective then on view. The conversation, published here for the first time, has been edited for this volume and examines Ruff’s artistic practice and inspiration, serving as an engaging and dynamic introduction to the artist.

Published on the occasion of the artist’s solo exhibition at David Zwirner, Hong Kong, in 2019, 

 and bilingual English/traditional Chinese editions.

Thomas Ruff: Transforming Photography (Bilingual)

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

Trine Otte Bak Nielsen

This original volume juxtaposes the work of two artists: the South African–born, Netherlands-based painter Marlene Dumas (b. 1953) and the Norwegian artist Edvard Munch (1863–1944). Organized by Dumas, the project stems from her longstanding, personal connection to the works of Munch. The book focuses particularly on Munch’s 1908–9 series of lithographs titled 

 and on a new series of works by Dumas titled 

. Both series deal with themes of innocence, sexuality, loneliness, anxiety, and death, and each is structured around a love story. Through this book, Dumas shows us how she perceives Munch not simply as an emotional expressionist, but rather as an intelligent artist thoughtfully reflecting on human conditions in general.

Omega’s Eyes: Marlene Dumas on Edvard Munch

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

Daniel Kehlmann

One of the most influential figurative painters of his generation, Neo Rauch presents bold, new work in 

Rauch is widely celebrated for his captivating compositions that bring together figurative painting and surrealism into an entirely new kind of visual encounter. They often hint at broader narratives and histories—seemingly reconnecting with artistic traditions of realism—but they remain dreamlike and impossible to reduce to a single story. Though his art is highly refined and executed with great technical skill, Rauch himself stresses the intuitive, deeply personal nature of how he works. As the artist notes, “My process is far less a reflection than it is drawing from the sediments of my past, which occurs in an almost trance-like state.”

Eight large-scale canvases and seven smaller, more intimately scaled works continue the artist’s exploration of figuration and the ambiguous nature of meaning in visual art. In some of the larger works, the saturation of the canvas with characters, objects, and forms, all rendered at different scales and in conflicting arrangements, creates a collage-like quality—a figurative scrapbook of Rauch’s personal iconography.

The publication features a short story by German novelist and playwright Daniel Kehlmann, which was inspired by the paintings in this book. The fantastical text moves between present-day New York and an unknown time of enchanted forests, knights, and witches, exploring the many layers found in Rauch’s canvases. Published on the occasion of the artist’s solo exhibition at David Zwirner Hong Kong in 2019, 

Neo Rauch: PROPAGANDA (Bilingual)

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David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.