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 still from a film by Francis Alys, titled Children’s Game #26: Kisolo, Tabacongo, DR Congo, dated 2021.

A detail of an artwork by Michaël Borremans titled The Commuter II dated 2022

Portrait of Michaël Borremans, 2025. Photo by Charlie De Keersmaecker 

A painting by Lisa Yuskavage titled Night Classes at the Department of Painting Drawing and Sculpture, dated 2018-2020

Lisa Yuskavage, 2026. Photo by Jason Schmidt

Sigmar Polke, Magnetische Landschaft (Magnetic Landscape), 1982

Sherrie Levine, Dark Blue Moonlight After Man Ray: 11, 2016

Dawn Ades

Olivier Berggruen

J. Patrice Marandel

Nicholas Hall

Texts by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel. Introduction by Nicholas Hall

Endless Enigma: Eight Centuries of Fantastic Art

 explores the ways in which artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion.

 takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, 

, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries.

Presenting works from the twelfth century to the present day, this catalogue is organized into six themes—Monsters & Demons, Dreams & Temptation, Fragmented Body, Unconscious Gesture, Super Nature, and Sense of Place. Works included range from medieval gargoyles to twentieth-century works by Louise Bourgeois, Sigmar Polke, and Pablo Picasso as well as contemporary works by Michaël Borremans, Marcel Dzama, and Raymond Pettibon. Masterworks from the likes of Piero di Cosimo, Francisco de Goya, and Titian are considered alongside those by William Blake and Odilon Redon. Time folds and temporal barriers collapse when Damiano Cappelli meets Edvard Munch, and Salvator Rosa encounters Luc Tuymans and Lisa Yuskavage. Salvador Dalí, Sherrie Levine, Giuseppe Arcimboldo, Kerry James Marshall—eight centuries intersect and, as such, this wide-ranging catalogue examines affinities in intention and imagery between works executed across a broad span of time.

Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this fully illustrated catalogue is published on the occasion of the eponymous exhibition at David Zwirner, New York, in 2018. It includes new scholarship by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel.

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

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

Hafid Bouazza

Marlene Dumas

By William Shakespeare. Translated by Hafid Bouazza. Illustrated by Marlene Dumas

 (1593) is a poem by William Shakespeare based on passages from Ovid’s 

. This new translation by Hafid Bouazza of Shakespeare’s text is illustrated by Marlene Dumas, the renowned painter celebrated around the world for her highly charged depictions of the human form.

Through a series of expressive ink washes, Dumas paints new passion into the poem—bodies bleed into one another, lips part in sighs of passion, a flower blooms to life. Desire in all its heady intensity is evocatively washed over the pages. As with Dumas’s wider body of work, however, tragedy is not forgotten and is frighteningly played out with equal intensity. The owl, “night’s herald,” as Shakespeare writes, flies jet black across the sky; a wild boar looms like a shadow over Adonis’s suffering, wounded body; black dissolves into gray; and bodies are lost in a sea of ink.

The poem tells the story of Venus, the goddess of love, and her attempts to seduce the hunter Adonis. It is a complex, kaleidoscopic work in which love takes center stage—Venus’s lustful yearning for Adonis ripples throughout, each stanza and line tinged with unrequited longing. As Venus declares, “Graze on my lips, and if those hills be dry, / Stray lower, where the pleasant fountains lie.” Like Shakespeare before her, Dumas opens up a seemingly unending flow between light and dark, love and death, pleasure and pain.

Dumas’s complete suite of thirty-two works on paper is reproduced in this volume, exactingly placed by the artist throughout Shakespeare’s text. Copublished by Athenaeum and David Zwirner Books as an English/Dutch edition, the book is a striking yet beautiful paradox—a marriage of text and image that is as sensual, fleshy, and carnal as it is unnerving and disturbing.

Venus & Adonis

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)

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)

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

Portrait of Njideka Akunyili Crosby. Photo by Stefan Ruiz

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

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

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

Boris Friedewald

This beautiful volume offers high-quality reproductions and the latest biographical information on Paul Klee, who helped pave the way for Modernism.

Readers of this book will find much to discover and relish in Paul Klee's art. Reproductions of his iconic works as well as those that are more rarely exhibited are featured alongside in-depth biographical information that looks beyond his many artistic achievements to explore the life and times of the artist. Photographs of Klee and his circle, as well as entertaining and enlightening anecdotes, offer a multifaceted perspective on a groundbreaking artist and the events that helped shape his colorful and imaginative work.

Paul Klee: Life and Work

A detail from a painting by Oscar Murillo, titled manifestation, dated 2019.

Oscar Murillo in his studio, 2022. Photo by Jason Schmidt

Victor Wang

The Colombian-born, London-based artist Oscar Murillo is known for an inventive practice that encompasses paintings, works on paper, installations, actions, live events, collaborative projects, and videos. Taken as a whole, his body of work demonstrates a sustained emphasis on the notion of cultural exchange and the multiple ways in which ideas, languages, and even everyday items are displaced, circulated, and increasingly intermingled.

In recent years, Murillo has traveled extensively throughout the world to research and prepare exhibitions and other projects, making works both in the studio and in unexpected locations. As a result, airplanes, which are able to move more or less freely and without regard for borders, and the contemplative isolation afforded by these long journeys, have become an important site of production for the artist. His large-scale canvases, in turn, are a synthesis in both form and content of his experiences. By combining personal allusions with more universally recognizable references, Murillo aligns these paintings with preceding art-historical movements that conceptualized art not as a hermetic language but rather as a critical tool for interpreting a world outside of itself—comprising, as he notes, “an accumulation of thought, gesture, discourse, action, and motion.”

Through his command of gesture, form, and spatial organization, Murillo is able to convey a complex and nuanced understanding of the specific conditions of globalization and its attendant state of flux, while nevertheless maintaining the universality of human experience within this milieu. Published on the occasion of the artist’s exhibition of paintings and works on paper at David Zwirner, Hong Kong, in 2018, 

 is accompanied by an essay by curator and writer Victor Wang, who attests to Murillo’s work as being guided by mobility. This publication is available in both English only and 

Oscar Murillo: the build-up of content and information

The rich, revealing, and thrilling story of five women whose lives and painting propelled a revolution in modern art, from the 

Set amid the most turbulent social and political period of modern times, 

 is the impassioned, wild, sometimes tragic, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting—not as muses but as artists. From their cold-water lofts, where they worked, drank, fought, and loved, these pioneers burst open the door to the art world for themselves and countless others to come.

Gutsy and indomitable, Lee Krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock. Elaine de Kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax. Grace Hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. Joan Mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. And Helen Frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. Her gamble paid off: At twenty-three she created a work so original it launched a new school of painting.

These women changed American art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation. In 

acclaimed author Mary Gabriel tells a remarkable and inspiring story of the power of art and artists in shaping not just postwar America but the future.

Lee Krasner, Elaine De Kooning, Grace Hartigan, Joan Mitchell, And Helen Frankenthaler: Five Painters And The Movement That Changed Modern Art

Ninth Street Women

Ralph Keuning

Harald Kunde

Ulf Küster

Norman Rosenthal

Klaus Werner

Texts by Ralph Keuning, Harald Kunde, Ulf Küster, Norman Rosenthal, and Klaus Werner

 is a survey of the painting of Neo Rauch. It begins with his first solo show in 1993 at the renowned Galerie Eigen + Art in Leipzig and traces in detail the developments in his oeuvre up to the present day, using paintings from prominent international collections as examples. Accompanying essays by well-known curators and art historians provide fundamental insights into Rauch’s complex body of work.

When Rauch was a student of Arno Rink at the Hochschule für Grafik und Buchkunst in Leipzig, Germany was still a divided country. After the fall of the Berlin Wall, when his large, cryptic paintings first debuted in the art world, Rauch became the trailblazer for the New Leipzig School, and its most famous representative, with paintings combining elements of Pop art, comics, and advertising graphics.

Paintings 1993–2017

Neo Rauch: Dromos

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