Detail view of Alice Neel's 1967 painting titled Richard

Contributions by Kelly Richman-Abdou, Jennifer Higgie, Mira Schor, and Annie Sprinkle

This catalog was conceived as a tool to discover and understand the work of Alice Neel, presented for the first time in Italy on the occasion of the retrospective of the same name at Pinacoteca Agnelli. Published in English and Italian, the book follows the exhibition layout: the authors’ contributions are followed by images of the 60 works presented, divided into six sections—

—mirroring the six rooms in the exhibition. Each of these thematic sections is preceded by an introductory text, and the publication concludes with a chronology, compiled by the editors, that links Neel’s life to analyses of 30 of her works in the exhibition. The author contributions includes an introduction by the curators, followed by four essays: Kelly Richman-Abdou examines Neel’s exploration of the theme of motherhood in the early phase of her artistic career, offering an interesting comparison with some of the works the artist may have seen during her visits to the Metropolitan Museum of Art; Jennifer Higgie reflects on Neel’s interest in self-portraiture, a genre that the artist rarely explored during her career; Mira Schor revisits her twenty-year research on the formal aspects that allow Alice Neel to be considered a great abstract artist; Annie Sprinkle, whose portrait is included in the exhibition, recounts her experience of posing for Neel and the development of their friendship.

Alice Neel: I Am the Century

is an artist catalogue published with Christopher Williams on the occasion of his 2025 exhibition at The Perimeter.

The catalogue was designed by Petra Hollenbach and Christopher Williams, and features a selection of the artist's images and a critical essay, 'Model Models,' by art historian Stephanie Schwartz. 

Christopher Williams: Photographs

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

Ruth Asawa's vibrant and experimental lithographs, made at the renowned Tamarind Lithography Workshop 

In autumn 1965, the artist Ruth Asawa (1926–2013) produced a remarkable suite of fifty-four prints at the storied Tamarind Lithography Workshop in Los Angeles. Asawa, well-known for her intricate looped-wire sculptures, was new to lithography, but she eagerly immersed herself in the workshop’s atmosphere of creativity and collaboration. The resulting works, strikingly varied and experimental, are published together for the first time in this special volume. Vibrant portraits of the artist’s parents and children alternate with renderings of colorful blooms from her San Francisco garden, linear explorations of desert flora, and abstract compositions of crackled, veined fields and pools of ink. Unique within Asawa’s renowned and wide-ranging body of work, the suite is a testament to the beauty and expansiveness of her art, which flowed from an endless fascination with materials, forms, and relationships. 

Ruth Asawa: The Tamarind Prints

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

Texts by Ingrid Mössinger, Ralph Keuning, and David Salle

The definitive monograph on the acclaimed German artist Neo Rauch, one of the most influential figurative painters working today

Neo Rauch is one of the world’s most successful and popular contemporary artists. A leading force of the Leipzig School, the group of artists that emerged from East Germany in the early 1990s after the fall of the Berlin Wall, Rauch quickly established himself internationally through his large canvases featuring a crossover between Surrealism and popular imagery.

Characterized by a bright acidic palette, Rauch’s ambiguous landscapes are populated by spatially connected, alienated figures conjuring a mysterious atmosphere of distorted nostalgia and failed Utopia. This career-spanning monograph was made in close collaboration with the artist, showcasing Rauch’s work alongside essays and texts that illuminate his work and career.

Neo Rauch

A gelatin silver print by Diane Arbus, titled Triplets in their bedroom, N.J. 1963, dated 1963.

A new collection of photographs by Diane Arbus illuminates her singular ability to enter private worlds.

 brings together forty-five photographs made in private places across New York, New Jersey, California, and London between 1961 and 1971.

Through her singular combination of intelligence, charisma, intuition, and courage, Diane Arbus (1923–1971) was frequently invited into personal realms seldom seen by strangers. Though made in intimate settings, the photographs collected in this volume convey no sense of intrusion or trespass—instead, they reveal an unspoken exchange between photographer and subject, a moment of recognition in which confidences emerge freely and without judgment.

Arbus’s desire to know people embraced a vast spectrum of humanity. Her subjects featured in 

 include debutantes, nudists, celebrities, aspiring celebrities, socialites, transvestites, babies, widows, circus performers, lovers, female impersonators, and a blind couple in their bedroom. Through a fresh consideration of little-known photographs among works that may be more familiar, this publication invites viewers to discover aspects of even well-known images that have previously gone unnoticed.

Diane Arbus: Sanctum Sanctorum

Detail of an oil on linen painting, titled Clear Message, dated 2019.

Inside of this book are 38 paintings and a sculpture by Josh Smith. The paintings were made in 2025 and exhibited as part of the show 

 at David Zwirner, Los Angeles from September 13-November 1, 2025. 

Grim reapers roam the city with bicycles. They are up to something.

Josh Smith: Destiny

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

From June 13 to September 22, 2025, the Centre Pompidou is giving carte blanche to the artist Wolfgang Tillmans, who has come up with an original project to round off the programming of the Paris building. Occupying the entire second floor of the Public Information Library (Bpi), Tillmans’s experimental installation transforms the space, establishing a dialogue with the former library and questioning it both as architecture and as a locus for the transmission of knowledge. The exhibition explores over thirty-five years of artistic practice through various photographic genres and constitutes another, very personal representation of his universe, whose order and logic are activated in response to the library space.

The catalog traces this unique project. On the spreads of the section featuring the plates, images of the works alternate with numerous installation shots that show how the artist has made this space his own. A varied selection of essays by a younger generation of authors sheds new light on the various aspects of Tillmans’s work.

Wolfgang Tillmans is an artist based in Berlin and London. A recent retrospective was held at the Museum of Modern Art in New York, the Art Gallery of Ontario in Toronto, and the Museum of Modern Art in San Francisco. Florian Ebner is head of the Department of Photography at the Centre Pompidou. Olga Frydryszak-Rétat is assistant curator at the Department of Photography, Centre Pompidou, specializing in contemporary photography.

Book cover of Wolfgang Tillmans: Nothing could have prepared us / Everything could have prepared us, Centre Pompidou, 2025

Wolfgang Tillmans: Nothing could have prepared us / Everything could have prepared us

Edited by Lauren Cornell, Karen Kelly, and Barbara Schroeder. Texts by Lauren Cornell, Christian Ayne Crouch, Christina Sharpe, Laura U. Marks, and Kevin Moore

Douglas's first US survey charts his global influence and innovation across 40 works and reimagines D.W. Griffith's The Birth of a Nation (1915).

Since the 1980s, Canadian artist Stan Douglas (b. 1960) has created films, installations, photographs and other multidisciplinary projects that address moments of rupture where "history could go one way or the other." Across formats, his images recall things that haunt: unresolved moments, political tumult and violent turning points; plots that retain a hold, however imperceptible, on the present. His work operates within the genres of cinema, photography and theater to present a point of view that is always staged. Douglas's rigorous explorations of these charged histories show us how to "think historically in the present" and frame contemporary crises in a longer timeline. This book was published in conjunction with Center for Curatorial Studies, Bard College; Kemper Museum of Contemporary Art.

Stan Douglas: Ghostlight

ekphrasis

By Marguerite Yourcenar. Introduction by John Knight

A selection of texts on art and artists by the Belgian French novelist and essayist Marguerite Yourcenar

 (1951), an imagined autobiography of the Roman emperor, Yourcenar brings the same depth of inquiry and inventive speculation to her lyric prose on art and artists in this newest title in the 

 series. In these five jewel-like essays, Yourcenar meditates on the decay of time, the desire both satiated and refused by art, and the imagery animating the lives, works, and dreams of Michelangelo, Dürer, and Piranesi. And in an intimate meditation on the historical novel, Yourcenar describes her own encounters with how language reveals the past. Together these exquisite essays explore that fundamental awe—perhaps even the terror—at the heart of an encounter with beauty. 

An introduction by John Knight sketches the life of this extraordinary writer and situates Yourcenar’s unique criticism within her attempt to capture the great struggle required to make an enduring work of art. Subtle and learned, Yourcenar’s essays are like stepping stones into the past and the shadowy business of artistic creation. Bringing back into print Yourcenar’s seminal essay “The Dark Brain of Piranesi” in the poet Richard Howard’s elegant English translation, conducted in collaboration with the author, this volume also collects texts from 

 (1983) into a particularly focused volume.

A Dream of Stone

Mamma Andersson, 2023. Photo by Pierre Björk

Karl Ove Knausgaard

 considers recurring themes and motifs from Mamma Andersson’s oeuvre and suggests complex and potent feelings related to loss. 



Finding inspiration in work by other Scandinavian painters, including Carl Fredrik Hill and Vilhelm Hammershøi, Andersson explores the tension between interiority and the external world, imbuing her compositions with a haunting stillness and introspection. Departing from earlier oil-on-board paintings, the paintings in this body of work primarily utilize canvas, a support that allows Andersson to create at a larger scale and expand compositional possibilities within the pictorial space. Employing trompe l’oeil, the artist produces a subtly claustrophobic effect in domestic spaces by layering uncanny interior scenes taken from her own home and her imagination, an interplay of surfaces and imagery that probes the nature of representation.

This catalogue, published on the occasion of the artist’s first solo exhibition in Paris, at David Zwirner, and a companion to three previous volumes of recent work, marks a metaphorical farewell to a previous phase in her life. The author Karl Ove Knausgaard, a frequent collaborator of Andersson’s, provides an accompanying text to this book, offering an oneiric perspective on the artist’s evocation of layered dimensions.

Mamma Andersson: Adieu Maria Magdalena

An artwork by Raymond Saunders, called Untitled, dated 1990. Copyright Raymond Saunders

Jarrett Earnest

Darby English

Thelma Golden

Ebony L. Haynes

Richard J. Powell

Judith Wilson

Raymond Saunders: Post No Bills, David Zwirner Books,  2025

Introduction by Ebony L. Haynes. Texts by Jarrett Earnest, Darby English, Richard J. Powell, and Raymond Saunders. Interview with Raymond Saunders by Judith Wilson. Conversation between Thelma Golden and Ebony L. Haynes. 



Discover Raymond Saunders’s dynamic paintings and his extraordinary legacy as an artist and thinker in his first monograph.

Saunders’s work brings together his extensive formal training with his own observations and lived experience. His assemblage-style paintings frequently begin with a monochromatic black ground elaborated with white chalk—a pointed reversal of the traditional figure-ground relationship. He subsequently adds a range of other markings, materials, and talismans, such as wallpaper and advertisements, rulers and paintbrushes. Expressionistic swaths of paint, minimalist motifs, line drawings, and passages of vibrant color tangle with found objects, signs, and doors collected from his physical surroundings at home and abroad, creating unexpected visual rhymes and resonances that reward careful and sustained looking. At once deliberately constructed and improvisatory, didactic and deeply felt, these richly built surfaces conjure a range of themes, allowing for a nuanced multiplicity of meanings. 

Documenting a two-part exhibition presented at David Zwirner and Andrew Kreps Gallery in 2024, this publication illuminates Saunders’s ability to infuse his work with social relevance and commentary. Included is a conversation between curator Ebony Haynes and the Studio Museum of Harlem director Thelma Golden about Golden’s multidecade engagement with Saunders’s artwork and writing. A facsimile of Saunders's self-published pamphlet from 1967, 

—his vital essay on the creative expression of the artist, which continues to spark cultural conversation more than five decades later—is reproduced alongside new annotated commentary by the art historian Darby English. An essay by Jarrett Earnest offers an in-depth interpretation of two of Saunders’s complex chalkboard works. Also included is a previously unpublished interview from 1980 between the artist and Judith Wilson, in which Saunders discusses his multilayered practice. Lastly, a pivotal text from 1993 by the art historian Richard J. Powell offers a panoramic examination of Saunders’s art from 1968 to 1993, with a special focus on his iconic painting 

. This robust group of texts and academic considerations offers a compelling exploration of Saunders’s wide-ranging practice and lasting influence.

Raymond Saunders: Post No Bills, David Zwirner Books, 2025

interior spread, Raymond Saunders: Post No Bills, David Zwirner Books, 2025

Raymond Saunders: Post No Bills

Jeffrey Kastner

Foreword by Winston Eggleston. Text by Jeffrey Kastner

This momentous publication catalogues the last major group of William Eggleston’s photographs to ever be produced using the dye-transfer method, the format in which he originally presented his work.



Eggleston’s vivid photographs transform the ordinary into distinctive, poetic images that eschew fixed meaning. One of the foremost practitioners in the medium’s history, Eggleston is widely considered the father of color photography. He pioneered the use of dye-transfer printing for art photography in the 1970s. The technically advanced process—first developed by Kodak in the 1940s—allowed him to achieve the richness of tonal depth and color saturation that he had been searching for. In the early 1990s, Kodak stopped producing the dyes, paper, and film used for this process. With the necessary materials now discontinued, and the bulk of what remained being used for the major group of work presented at David Zwirner in Los Angeles, 

 marks the final presentation of new works completed in this medium.

The publication includes a new essay by Jeffrey Kastner, offering critical insights into Eggleston’s enduring influence at this turning point in the history of photography.

William Eggleston: The Last Dyes

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Doro Globus


Ruth Asawa found inspiration everywhere—whether she looked to her children, her garden, or the warmth of her home, she believed that anything could become art. Her engaging work invites young artists to discover how creativity can sprout from anywhere.

Through her unique wire sculptures and natural watercolors, Asawa demonstrated that even the simplest materials can be transformed into something extraordinary. Her work encourages children to explore their own imaginations and to see the beauty in the everyday world around them.




Pumpkins, polka dots, flowers, and so much more! Yayoi Kusama creates art that's bursting with color and creativity, bringing “never-ending joy” to children. Her playful and vibrant masterpieces are perfect for young artists who love to explore and have fun with colors and shapes.

Kusama's radiant world invites young imaginations to run wild, offering endless possibilities for creative expression. With her signature bold patterns, she encourages kids to embrace their own unique artistic voices.

What Artists Make Set, 2025 - David Zwirner Books

What Artists Make Set

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

Peter Eleey

Tausif Noor

Explore the artist Huma Bhabha’s layered and nuanced sculptures and works on paper that focus on the reinvention of the figure and its expressive possibilities. 



Through the artist’s fusion of materials such as bronze, iron, wood, or bone, Bhabha’s work unites the ancient and the futuristic, evoking both familiarity and otherworldliness. Her formally innovative practice pulls from a wide range of references, including those that span the history of art, quotidian influences such as science-fiction and horror films, and the makeshift structures and detritus of urban life.

Instinctive and rigorous, her formidable sculptures bring diverse aesthetic, cultural, and psychological touchstones into contact with matters of surface, materiality, and formal construction. This publication highlights Bhabha’s ability to move between a wide range of media and forms, creating deeply resonant hybrid figures that seem to simultaneously dwell in the past, present, and future.

Published on the occasion of two concurrent exhibitions

includes a text by the scholar Tausif Noor that investigates the theme of alienation in Bhabha’s work. In his essay, the curator and writer Peter Eleey situates Bhabha’s practice within the arc of art-historical models and contextualizes her work in the current moment.

Book cover of Huma Bhabha: Welcome . . . to the one who came, David Zwirner Books, 2025

Huma Bhabha: Welcome to the One who came, david zwirner books

Huma Bhabha: Welcome . . . to the one who came, David Zwirner Books, 2025

Huma Bhabha: Welcome . . . to the one who came

Text by Marilyn Chase. Foreword by Jonathan Laib. 



The definitive biography and inspiring story of American sculptor Ruth Asawa.

"A fitting homage to this remarkable woman." —

This is the story of a woman who wielded imagination and hope in the face of intolerance and who transformed everything she touched into art. In this compelling biography, author Marilyn Chase brings Asawa's story to vivid life. She draws on Asawa's extensive archives and weaves together many voices family, friends, teachers, and critics to offer a complex and fascinating portrait of the artist.

Everything She Touched: The Life of Ruth Asawa

Edited by Janet Bishop and Cara Manes. Contributions by Genji Amino, Isabel Bird, Anne Anlin Cheng, Caitlin Haskell, Charlotte Healy, Corey Keller, Ruth Ozeki, Jeffrey Saletnik, Marin Sarve-Tarr, Dominika Tylcz, Jennie Yoon, and Marci Kwon.



A landmark survey of the wide-ranging practice of one of the twentieth century’s most innovative artists



Best known for her sinuous looped-wire sculptures, Ruth Asawa (1926–2013) used everyday materials to create endlessly innovative works in a variety of media over her more than six-decade-long career, from her student days at the experimental Black Mountain College in the 1940s through her mature years in her adopted home city of San Francisco.

This extensively illustrated volume explores the astonishing expansiveness of Asawa’s work, from the abstract looped-wire sculptures for which she garnered national attention in the 1950s to her nature-inspired tied-wire pieces, clay and bronze casts, paperfolds, paintings, drawings, sketchbooks, and prints. The book explores the ways in which her longtime San Francisco home and garden served as the epicenter of her creative practice, and highlights the ethos of collaboration and inclusivity that informed her numerous public sculpture commissions and unwavering dedication to arts advocacy.

Essays and other writings consider Asawa and her work within the context of modern abstract sculpture, through the lens of craft and the materiality of wire, and in relation to her Asian American identity and her personal history as a Japanese American who was incarcerated with her family during World War II. Focus texts illuminate the connections between Asawa and key artistic figures such as Josef Albers, Imogen Cunningham, and R. Buckminster Fuller, with whom she maintained enduring relationships.

Ruth Asawa: Retrospective

Giorgio de Chirico

Fabio Benzi

By Giorgio de Chirico. Introduction by Fabio Benzi

This seminal 1929 surrealist novel by the painter Giorgio de Chirico merges the realms of dream and reality.

In the artist’s only novel published in his lifetime, de Chirico invites the reader into a world where language, time, space, and meaning are fluid, highlighting themes of mystery, myth, and the uncanny. Following the titular character Hebdomeros as he embarks on a series of philosophical musings and bizarre experiences divorced from a specific place or time, 

 embraces ambiguity in a profound exploration of the subconscious mind. Highly visual passages evoke the landscapes and compositions of de Chirico’s metaphysical paintings, and non sequiturs mirror the freedom that Surrealism allowed for in art of all categories.

An introduction by the scholar Fabio Benzi contextualizes de Chirico’s work within a broader modernist framework, highlighting its influence on surrealism and its resonance with the literary and artistic movements of the early twentieth century.

Cover of a book titled Hebdomeros, published by David Zwirner Books in 2025.

Back cover of a book titled Hebdomeros, published by David Zwirner Books in 2025.

Interior spread of a book titled Hebdomeros, published by David Zwirner Books in 2025.

A Novel

Hebdomeros

Élisabeth Louise Vigée Le Brun

Anne Higonnet

Book cover of “Souvenirs” by Elisabeth Louise Vigee Le Brun, published by David Zwirner Books.

By Élisabeth Louise Vigée Le Brun. Introduction by Anne Higonnet



A selection from the memoir of Élisabeth Louise Vigée Le Brun, the renowned eighteenth-century French portraitist and one of the most important women painters in art history

In her memoir, Vigée Le Brun offers a candid and thoroughly enjoyable account of her life and art. She relates her encounters among the royalty and aristocracy she painted––including, most famously, her patron Marie Antoinette––and the effusive reception they extended to her across Europe. Forced to flee during the French Revolution, Vigée Le Brun traveled through Italy, Russia, Germany, and England, returning twelve years later to France under Napoleon I. These pages demonstrate her unflagging creativity during unstable times and her remarkable savvy. Her observations provide unique insight into the art world of eighteenth- and nineteenth-century Europe, a time when women were rarely allowed success.

In her introduction to this volume, the scholar Anne Higonnet conveys Vigée Le Brun’s unique position at a turning point in the art world, as well as the larger world beyond, and navigates in particular how one retroactively reconstructs a relationship to a world-changing revolution.

Cover of a book titled Souvenirs, published by David Zwirner Books in 2025.

Back cover of a book titled Souvenirs, published by David Zwirner Books in 2025.

Interior spread of a book titled Souvenirs, published by David Zwirner Books in 2025.

From a Memoir

Souvenirs

What Artists Make

What Did Yayoi Kusama Make? 2025, David Zwirner Books

Explore the world of artist Yayoi Kusama in this lively, interactive lift-the-flap book for children ages 0–3.

Pumpkins, polka dots, flowers, and so much more! Yayoi Kusama creates art that's bursting with color and creativity, bringing “never-ending joy” to children. Her playful and vibrant masterpieces are perfect for young artists who love to explore and have fun with colors and shapes.

book cover, What Did Yayoi Kusama Make? David Zwirner Books, 2025

What Did Yayoi Kusama Make? David Zwirner Books, 2025

What Did Yayoi Kusama Make?

What Did Ruth Asawa Make? - David Zwirner Books, 2025

Explore the world of artist Ruth Asawa in this lively, interactive lift-the-flap book for children ages 0–3.

Ruth Asawa found inspiration everywhere—whether she looked to her children, her garden, or the warmth of her home, she believed that anything could become art. Her engaging work invites young artists to discover how creativity can sprout from anywhere.

Through her unique wire sculptures and natural watercolors, Asawa demonstrated that even the simplest materials can be transformed into something extraordinary. Her work encourages children to explore their own imaginations and to see the beauty in the everyday world around them.

What Did Ruth Asawa Make? David Zwirner Books, 2025

What Did Ruth Asawa Make?

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

Portrait of Njideka Akunyili Crosby. Photo by Stefan Ruiz

Jareh Das

Helen Molesworth

Jason Rosenfeld

Drew Thompson

Texts by Jareh Das, Helen Molesworth, Jason Rosenfeld, and Drew Thompson



The first monograph on the internationally celebrated Nigerian American painter who blends her personal history and African diasporic identity in layered compositions

“Critics have often (and rightly) marveled at the care and finesse with which Akunyili Crosby assembles vast multiplicities of time and place into singular sites of visual contestation.” —

Njideka Akunyili Crosby’s work unites multiple places and temporalities, reflecting both personal and universal dimensions of contemporary life and, in particular, the intricacies of the African diasporic identity. This first monograph on Akunyili Crosby brings together nearly fifty paintings, made from 2010 to 2023, that chart her methodical practice of layering painted representations of people, locales, and aspects of her own experiences with transferred images sourced from her personal collection and Nigerian publications, among other outlets. Akunyili Crosby reveals and revisits distinct realms, from lush gardens to domestic, interior worlds related to motherhood, family, marriage, the body, and personal identity.

New texts from Jareh Das, Helen Molesworth, Jason Rosenfeld, and Drew Thompson focus on a range of themes in Akunyili Crosby’s work, including her visual language and material practice, her mixing of Western and Nigerian imagery and forms, and her use of photography in portraiture and figuration.

Njideka Akunyili Crosby, David Zwirner Books 2025

interior spread, Njideka Akunyili Crosby, David Zwirner Books, 2025

Njideka Akunyili Crosby, David Zwirner Books, 2025

Njideka Akunyili Crosby

An oil on canvas painting by Dana Schutz, titled The Arts, dated 2021.

Dana Schutz: Jupiter’s Lottery, 2025, David Zwirner Books

Viscerally evocative, Dana Schutz’s newest paintings and sculptures depict allegorical scenes in which often grotesque characters negotiate their subjecthood.

Schutz’s large-scale paintings and sculptures portray tragicomic situations populated by characters preoccupied with self-preservation as they tilt toward oblivion. With mask-like features—all jaws and noses—they emerge, in groups and pairs, out of the painterly atmosphere. Enormous, vibrant, and enigmatic, her works convey tangible yet ineffable tensions and ambiguities of human life.

Published on the occasion of Schutz’s 2023 exhibition at David Zwirner, New York, this catalogue features a long-form essay by Jarrett Earnest, who chronicles Schutz’s artistic process as she creates her most ambitious sculpture to date, 

. Earnest explores the interconnections between Schutz’s long-standing painting practice and her more recent engagement with sculpture, offering a fascinating reflection on her thematic explorations and artistic inquiry, and the conceptual underpinnings of her work. The text is accompanied by behind-the-scenes photography by Jason Schmidt, which offers an intimate view of the artist at work.

Dana Schutz: Jupiter’s Lottery, David Zwirner Books, 2025

Dana Schutz: Jupiter’s Lottery,  David Zwirner Books, 2025

Dana Schutz: Jupiter’s Lottery

Dan Nadel

By R. Crumb. Edited and with an introduction by Dan Nadel



This volume brings together twenty-five of R. Crumb’s most ambitious, acclaimed, and profound comics.

One of the most influential and iconic cartoonists of our time, R. Crumb is celebrated for pushing the boundaries of representation, mass consumerism, and polite society. The comics in this volume exemplify Crumb’s creative output over twenty-five years following his early experimentation in the 1960s and 1970s.

The comics collected here depict characters searching for an understanding of the world around and within themselves. Through adaptation, autobiography, biography, and short fiction, Crumb—much like his subjects—demands we pay attention to our darkest desires, compulsions, fears, and obsessions. 

 also features a new, introductory comic strip by Crumb, reflecting on his practice in the context of this volume.

Editor Dan Nadel’s essay further weaves together Crumb’s life, career, and influences, delving into the creative environment that informed some of the artist’s most outstanding comics.

 with an artist-signed bookplate is available in a limited run of 275 copies.

R. Crumb: Existential Comics Selected Stories 1979–2004, David Zwirner Books, 2025

R. Crumb: Existential Comics, Selected Stories 1979–2004

Selected Stories 1979–2004

R. Crumb: Existential Comics

Kayode Ojo

Serubiri Moses

Clarion

Curator’s note by Ebony L. Haynes. Text by Serubiri Moses



Kayode Ojo’s sculptural installations made of ready-made items prompt reflections on class, consumption, and the fragility of luxury.

“There is a sense of urgency in these fleeting collisions between fashion and art. It’s the kind of tenuous exchange between culture and commerce that he does best.” 

Replete with sequins, chrome finishes, and transparent and reflective surfaces, Ojo’s sleek sculptures move between the related visual languages of delicate minimalism and glittering opulence, foregrounding the transformative power of the material object and its ability to transport its owner through dimensions of time, place, and social status. Sourcing his materials from fast-fashion websites and online shopping hubs, the artist weaves the familiar cadences of searching, scrolling, purchasing, and receiving into his nimble artistic practice. Ojo works instinctively to refashion these items into poetic yet perverse arrangements that make visible the phenomenon of social aspiration, unveiling its double-edged nature as a facilitator of both belonging and instability.

The texts in this volume, including a curator’s note by Ebony L. Haynes and an essay by Serubiri Moses, explore Ojo’s influences and examine the consumerism that is both called out by and a central component of the artist’s creative practice.

Spread from Kayode Ojo: EDEN, David Zwirner Books/52 Walker, 2025

Kayode Ojo: EDEN, David Zwirner Books/52 Walker, 2025

Kayode Ojo: EDEN

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