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

Michael Glover

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

A painting by Nate Lowman, titled Maria, dated 2022.

Taking humanity and popular culture as his subject matter, Nate Lowman approaches these themes as an active participant in the collective American experience. Underscoring this is desire: a longing for something or someone, or a wish for something to happen. The duality inherent in desire is contained in Lowman’s use of well-known images whose meanings are both instantly recognizable and constantly in flux. Appropriated, relatable images and language from American pop culture and its 24-hour news cycle form a narrative and tell part of the American story. Angels, poppies, hearts, pine-tree air fresheners, smiley faces, iconic celebrities, crosses and news articles—all presented through the lens of desire—confront viewers with the things of modern life that are often left unsaid and unexamined.

For more than a decade, Nate Lowman has produced paintings, sculptures, and (often salon-style) installations that process and represent the unfolding human experience in a visual environment of endlessly proliferating public media archives. Re-presenting and reframing techniques of image reproduction as painterly practice, Lowman constructs narratives condensed in layers of studio techniques, including printing, cropping, projecting, cutting, staining, repurposing, lacquering, stripping, and stretching. His paintings explore the capacity of images to mediate between the personal and the universal in cycles of decay and renewal.

Published on the occasion of the Aspen Art Museum’s exhibition of the New York–based artist, Nate Lowman is the first comprehensive monograph on the artist to date.

Nate Lowman: Before and After

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.

Out of stock

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

Éric de Chassey

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.

Ruth Asawa with hanging wire sculpture, 1951. Photo © Imogen Cunningham Trust

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

Spotlight Series

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)

Laila Pedro

Lying deep within the urban metropolis of Hong Kong, Happy Valley is one of the most iconic racecourses in the world. It is also the chief source of inspiration for a new body of work by American artist Marcel Dzama.

Jockeys ride through waves and cathedrals, Chinese symbols pulled from racing paraphernalia adorn the edges of paper, and bats swoop, hunting for prey. Dzama’s distinct visions of the racetrack come alive through a series of large-scale paintings and drawings, transposing imagery from his prolific oeuvre into this adrenaline-filled sporting arena. His new works reflect on the culture of horseracing and how the track has become not only a symbol of sport, but also of commerce, class, and wealth.

The publication includes a conversation between Dzama and Laila Pedro. Published on the occasion of his solo exhibition at David Zwirner, Hong Kong in 2019, 

Marcel Dzama: Crossing the Line (Bilingual)

Foreword by Frances Morris. Introduction by Mark Godfrey and Christine Macel. Texts by Monika Bayer-Wermuth, Christine Macel, Martin Prinzhorn, and Mark Godfrey

An anarchic free spirit, self-taught until the age of thirty, Franz West remained in the shadows of the Viennese art scene for nearly fifteen years before becoming known in the international art world in the 1980s. Today he is regarded as a pivotal figure of contemporary art, whose work continues to inspire younger artists. West's output ranged from lumpy papier mâché objects to installations of divans for viewers to lounge on, from painted collages to outdoor sculptures shaped like intestines and turds. It was at once popular and esoteric, active and contemplative, corporeal and intellectual, philosophical and playful.

West produced thousands of works over forty years, and this fully illustrated catalogue provides a remarkable picture of the artist's exceptionally rich career. Further insight into West's practice is provided through essays by Mark Godfrey, Christine Macel and Martin Prinzhorn, an illustrated chronology, and some thirty previously unpublished testimonies from close associates and friends of the artist, from Kasper König to Bice Curiger and Sarah Lucas.

Franz West (Tate)

Installation view of Carol Bove at the Met, New York, 2022.

Johanna Burton

Interview with the artist by Johanna Burton

 presents new work by “sculpture’s woman of steel,” as coined by Randy Kennedy in 

. Her new sculptures expand on her investigations of materiality and form.

Characterized by compositions of various types of steel, Bove’s ongoing series of “collage sculptures,” begun in 2016, amalgamates theoretical and art-historical influences across time periods and disciplines. To create these lyrical and abstract assemblages, Bove pairs fabricated tubing that has been crushed and shaped at her studio with found metal scraps and a single highly polished disk. Luminous color is applied to parts of the composition, transforming the steel—more commonly associated with inflexibility and heft—into something that appears malleable and lightweight, like clay, fabric, or crinkled paper.

Bove’s new works are smaller in scale and elaborate on the “collage sculptures,” with more complex forms that twist, fold, and bend into postures that belie their material construction. She manipulates steel to varying degrees, rendering gentle folds in some, and extreme, almost anthropomorphic contortions in others. Their contrasting textures—matte, glossy, or rough—create a further sense of visual play, heightening the surface tension throughout.

This publication features a new interview with the artist by Johanna Burton. Published on the occasion of the artist’s solo exhibition at David Zwirner, Hong Kong, in 2019, 

Carol Bove: Ten Hours (Bilingual)

Njideka Akunyili Crosby’s colorful collage-paintings lay bare the complexities of the African and diasporic experience

Nigerian-born, Los Angeles–based artist Njideka Akunyili Crosby's figurative paintings at first appear to be paintings of quotidian indoor scenes inspired by the artist's personal photographs of friends and family in Nigeria. But on closer inspection, it becomes clear that large segments of these paintings are composed of collages, themselves created from personal photos and images taken from Nigerian magazines.

This richly textured appearance conveys the complexities of the African and diasporic experiences of Akunyili Crosby and of the people whose likenesses she captures in her paintings. In her series 

, Akunyili Crosby paints Nigerian children as they appear in everyday life, posing in a classroom or standing pajama-clad next to the TV. This book features full-color reproductions of the paintings with detail shots that allow the reader to see the collage work up close, as well as an introductory essay by the well-known art writer Siddhartha Mitter.

Njideka Akunyili Crosby: The Beautyful Ones

Text by Shanay Jhaveri, Ed Halter and Sheena Wagstaff

A compact volume that illuminates the work of Huma Bhabha and chronicles her piece for the 2018 Met Roof Garden commission.

Often described as “post apocalyptic,” the work of Pakistani sculptor Huma Bhabha (b. 1962) responds to the violence and turmoil in the world around her through depictions of anthropomorphic figures that often appear to be dismembered, melted, or dissected. This compact volume, accompanying a site-specific installation at the Metropolitan Museum’s Roof Garden, features an interview with the artist that provides new insight into her diverse influences. Essays discuss the impact of cinema and science fiction on Bhabha’s sculpture, explore art historical connections, and illuminate the artist’s process and oeuvre over the past 20 years. Like the installation, this book—the sixth in a series devoted to the Met’s Roof Garden Commissions—connects Bhabha’s contemporary practice to both art history and global current events.

Huma Bhabha: We Come in Peace

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Jenni Sorkin

In a unique style that is both sensory and utopian, Yayoi Kusama’s work possesses a highly personal character, yet one that has connected profoundly with large audiences around the globe. Throughout her career she has been able to break down traditional barriers between work, artist, and spectator.

Kusama’s work—which spans paintings, performances, room-size presentations, sculptural installations, literary works, films, fashion, design, and interventions within existing architectural structures—has transcended some of the most important art movements of the second half of the twentieth century, including pop art and minimalism. Conveying extraordinary vitality and passion, her work seems to encompass an autobiographic, even confessional dimension. As stated by Roberta Smith in 

, “These paintings form a great big infinity room of their own, but one in which each part is also an autonomous work of art, its own piece of wobbly, handwrought infinity. You may not want to know these paintings Ms. Kusama has made, but in the moment their vitality is infectious. It is the vitality of an artist who lives to work, whose work keeps her alive.”

 documents the artist’s exhibition at David Zwirner’s Chelsea location in New York in late 2017, featuring a selection of paintings from her iconic 

series, new large-scale flower sculptures, a polka-dotted environment, and two 

. The monograph includes new scholarship on the artist by Jenni Sorkin, as well as a special foldout poster.

Yayoi Kusama: Festival of Life

A detail of a photograph by Wolfgang Tillmans titled Sicily Morning, dated 2018.

Preface by Bridget Oetker and Isabel Podeschwa. Introduction by Wolfgang Tillmans. Contributions by Philipp Hübl, Jonas Kaplan, Joe Keohane, and Michael Seemann. Interviews with Lionel Barber, Carolin Emcke, Sigmar Gabriel, Bianca Klose, Stephan Lewandowsky, Brendan Nyhan, and Wolfgang Schäuble by Wolfgang Tillmans


 is the title of this year’s edition of Sternberg Press's Jahresring, guest-edited and designed by Wolfgang Tillmans. Since the early 2000s Tillmans has been working on 

, a series of works concerned with absolute claims of truth in social and political contexts.

Circling around contemporary issues of newly resurfaced right-wing populism, the phenomenon of fake news, and psychological findings such as the backfire effect, Tillmans, rather than analyzing the status quo, focuses on what has changed in the past ten, twenty, thirty, forty years. Why are societal consensus and institutions now under attack?

Tillmans interviewed scientists, politicians, journalists, and social workers, highlighting the issues at stake from various angles. The publication also contains analytic texts and studies that shed further light on what happens in our brain, ethics, and online behavior when we are confronted with statements that oppose our political beliefs. Tillmans associated these texts with his own images as well as visual material found in print and online. While designing this year’s Jahresring, he has created photocopy works using the four-color scan process on a machine from the 1990s—an early digital collage technique that resonates with the complexity of the situation we find ourselves in today.

Jahresring 64

Wolfgang Tillmans: What Is Different?

Marilyn Monroe, Ronaldinho, and now Lolita—the layers of newspaper that line Rose Wylie’s studio floor are a frequent source of material for the artist. Drawing from such wide-ranging cultural areas as film, literature, mythology, news images, sports, and individuals she meets in her day-to-day life, Wylie paints colorful and exuberant compositions that are uniquely recognizable. This new limited-edition zine, titled 

, puts these larger-than-life works front and center, Wylie’s animated, vivacious strokes now canvassing the page.

Bold, wild, and continually humorous, Rose Wylie creates paintings and drawings that at first glance appear aesthetically simplistic, not seeming to align with any recognizable style or movement, but on closer inspection are revealed to be wittily observed and subtly sophisticated mediations on the nature of visual representation itself. These works make use of an idiosyncratic visual lexicon, the directness of cartoonish figures, and a flattened perspective, but simultaneously betray a deep awareness of art history and painterly conventions.

, this zine presents a new series of paintings and works on paper made specifically for Wylie’s second solo exhibition at David Zwirner, London in 2018. Loosely referencing a house that was constructed across the street from Wylie’s residence in Kent, England, 

 continues the artist’s ongoing fascination with the shifting nature of memory and the multi-layered external associations that become attached to it over time.

Rose Wylie: Lolita's House

Hal Foster

Richard Serra

“The rhythm of the body moving through space has been the motivating source of most of my work.”—Richard Serra

Drawn from talks between celebrated artist Richard Serra and acclaimed art historian Hal Foster held over a fifteen-year period, this volume offers revelations into Serra’s prolific six-decade career and the ideas that have informed his working practice. 

 is both an intimate look at Serra’s life and work, with candid reflections on personal moments of discovery, and a provocative examination of sculptural form from antiquity to today. Serra and Foster explore such subjects as the artist’s work in steel mills as a young man; the impact of music, dance, and architecture on his art; the importance of materiality and site specificity to his aesthetic; the controversies and contradictions his work has faced; and his belief in sculpture as experience. They also discuss sources of inspiration—from Donatello and Brancusi to Japanese gardens and Machu Picchu—revealing a history of sculpture across time and culture through the eyes of one of the medium’s most brilliant figures.

Introduced with an insightful preface by Foster, this probing dialogue is beautifully illustrated with duotone images that bring to life both Serra's work and his key commitments.

Richard Serra: Conversations about Sculpture

Edited with text by Anna Szech. Text by Fabienne Eggelhöfer

 examines a previously little-explored aspect of the artist’s oeuvre. Among the nearly 10,000 works Klee created in the course of his career are some of the most pioneering and influential examples of modernist abstraction—works that continue to resonate today.

Starting in 1913, this book presents around 100 works from all periods of Klee’s career, reproducing paintings and drawings from numerous renowned institutions and private collections in Europe and overseas. The works are grouped under four themes—nature, architecture, painting, and graphic characters—that show how Klee constantly oscillated between the semi-representational and the absolute abstract.

Paul Klee: The Abstract Dimension

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