Max Dax

Robert Eikmeyer

Kim Gordon

Astrid Ihle

Ulrich Loock

Stefan Thull

René Zechlin

Foreword by René Zechlin and Astrid Ihle. Essays by Max Dax, Robert Eikmeyer, Kim Gordon, and Ulrich Loock

The definitive collection of Raymond Pettibon’s album covers, uniting art and music in one powerful visual history. Featuring work for Black Flag, Sonic Youth, Foo Fighters, Iggy Pop, Lana Del Rey, and many others, this volume traces the artist’s bold influence on alternative culture from the late 1970s to today.

Throughout his decades-long career, Raymond Pettibon has remained deeply engaged with the world around him, whether through biting political satire of American geopolitics or poetic meditations on surfing and baseball. Pettibon’s aesthetic and political sensibilities originated in the punk scene that thrived in Southern California, the artist’s first home, in the late 1970s and 1980s—evidenced in his collaborations with bands such as the Minutemen, Sonic Youth, and Saccharine Trust. Among the most iconic works featured in this collection is Pettibon’s four-column logo design for Black Flag. His distinctive artwork appears on albums for a wide range of legendary musicians, including Iggy Pop, Foo Fighters, and Lana Del Rey, among many others.

 spotlights the artist’s enduring impact on the music industry, presenting for the first time every record, CD, and cassette cover since 1979 that features his artwork. Published on the occasion of an exhibition at the 

 in Ludwigshafen, Germany, this catalogue features more than two hundred works from the Stefan Thull Collection. With essays by Max Dax, Robert Eikmeyer, and Ulrich Loock, and a 1985 

 essay by Kim Gordon, the book includes a catalogue raisonné of Pettibon’s album artwork, an essential resource for fans, scholars, and collectors of contemporary art and music history alike.

A German edition is also published by the Wilhelm-Hack-Museum and 

Nervous Breakdown: Raymond Pettibon front cover

Nervous Breakdown: Raymond Pettibon title page

Nervous Breakdown: Raymond Pettibon spread

Album Covers

Nervous Breakdown: Raymond Pettibon

A painting by Giorgio Morandi titled Natura morta (Still Life), dated 1956.

Luigi Magnani

Stefano Roffi

Alice Ensabella

ekphrasis

By Luigi Magnani. Translated by Antony Shugaar. Preface by Alice Ensabella. Introduction by Stefano Roffi

The Italian painter Giorgio Morandi is recounted as a friend and artist in this memoir by Luigi Magnani, an art historian and devoted collector of Morandi’s work

One of the most beloved and critically acclaimed artists of the twentieth century, Giorgio Morandi painted serial and permutational arrangements of everyday objects that elevated the quotidian into the sublime. In 1940, he struck up a decades-long friendship with entrepreneur, musicologist, art historian, and collector Luigi Magnani.

is the first full-length English translation of Magnani’s memoir reflecting on his bond with the artist and his long-standing academic and personal interest in Morandi’s paintings. Magnani recounts the artist’s aloofness from artistic trends and his dedication to painting for a small, discerning audience. He locates Morandi within the art-historical canon as well as chronicles their artistic and intellectual kinship, which led to a unique, rich collection of Morandi’s work at Magnani’s villa in Mamiano, now the Magnani Rocca Foundation. Magnani’s personal collection of Morandi’s work was on view at David Zwirner, New York, in 2025. Originally published in 1982 in Italian, this memoir is accompanied by a new preface by curator and scholar Alice Ensabella and an introduction by Stefano Roffi, director of the Magnani Rocca Foundation.

My Morandi

Lynne Tillman

Elizabeth Schambelan

cover of a book titled Lynne Tillman: Paying attention published by david zwirner books in 2026

By Lynne Tillman. Edited and with an introduction by Elizabeth Schambelan

From award-winning novelist and cultural critic Lynne Tillman, 

 is the first collection of essays devoted to her incisive, singular reflections on art and culture.

 gathers nearly seventy of the best and varied examples of Lynne Tillman’s writings in reference to art and culture published over the course of forty years. In essays that operate outside typical categories or genres, Tillman reflects on forms including film, painting, photography, poetry, and fiction, as well as notions of fame, originality, embodied viewing and thinking, collective activity, aging, illness, American identity, cultural politics, modernity, strangeness, and time.

Collected mainly from museum and gallery catalogues, artists’ books and monographs, her column in 

, these meditations on artists and writers, in the broadest sense of these labels, collide as a portrait of our cultural moment. Tillman’s inventive use of language and lateral thought, her ability to evoke conditions of the larger world in often just two thousand words on a specific artwork or individual, make her one of the most significant critics of our time. In a piece on the artist Robert Gober, she notes, “In writing on art, words reach for other words, phrases, idioms, and through them more images and ideas leap out.”

In her introduction, Elizabeth Schambelan notes that a hallmark of Tillman’s writing alongside artists is an “elegant rendering of complexity,” and in approaching Tillman’s body of work and thought, Schambelan herself deftly layers the art, voice, and language of criticism. With cover art by Paul Chan, this collection is for ludic and serious readers alike.

Essays on Art and Culture

Lynne Tillman: Paying Attention

A portrait of Gerhard Richter by Werner Bartsch.

Contributions by Nicholas Serota and Dieter Schwarz

A catalog of the major exhibition of remarkable works of Richter at the Fondation Louis Vuitton in Paris, from October 17, 2025 to March 2, 2026

Gerhard Richter describes himself as a “classical painter,” and the exhibition at the Fondation Louis Vuitton in Paris aims to showcase the complete evolution of his career, spanning over six decades. It will highlight both the continuities and disruptions in his work, which includes not only painting but also exquisite drawings, over-painted photographs, and sculptures. Located in Frank Gehry’s iconic building in Bois de Boulogne, the exhibition will be organized chronologically, allowing visitors to appreciate the unique characteristics of each piece. Trained in Dresden, Richter is interested in historical genres of painting and seeks to reinterpret them in the context of contemporary times, revealing beauty and ethical issues through seemingly conventional subjects. He has also explored various painting techniques, creating works that range from quiet and refined to those bursting with energy, reflecting his physical engagement in the creative process.

Gerhard Richter

Hilma af Klint

Wassily Kandinsky

Daniel Birnbaum

Julia Voss

Hilma af Klint and Wassily Kandinsky: Dreams of the Future, David Zwirner Books, 2025



An important exploration of the lives and art of Hilma af Klint and Wassily Kandinsky, two pioneers of abstraction at the turn of the twentieth century

The Swedish artist Hilma af Klint is one of the art world’s major rediscoveries of the twenty-first century. While the Russian artist Wassily Kandinsky has famously been credited for creating the first abstract artwork, this designation has been called into question with the resurfacing and renewed study of af Klint’s non-figurative paintings. In this captivating volume, the af Klint biographer and scholar Julia Voss and the curator and writer Daniel Birnbaum convey in depth the two artists’ nearly parallel development away from figuration and into the liberating, mystical vision of art.

While there is no indication that these artists, who both died in 1944, ever met, this publication presents a dynamic and visual conversation between them. Through this engrossing account of the affinities and divergences between af Klint’s and Kandinsky’s lives and work—supported by more than 100 striking illustrations—we gain a deeper understanding of the forces that shaped their artistic trajectories. By examining the spiritual, sociopolitical, and personal contexts that influenced their practices, this book invites us to witness a pivotal moment in which the art world was forever changed.

Hilma af Klint and Wassily Kandinsky: Dreams of the Future

is the first biography of Robert Crumb—one of the most profound and influential artists of the 20th century—whose frank and meticulously rendered cartoons and comics inspired generations of readers and cartoonists, from Art Spiegelman to Alison Bechdel.



Robert Crumb is often credited with single-handedly transforming the comics medium into a place for adult expression, in the process pioneering the underground comic book industry, and transforming the vernacular language of 20th-century America into an instantly recognizable and popular aesthetic. Now, for the first time, Dan Nadel delivers a “gripping and essential account” (

) of how this complicated artist survived childhood abuse, fame in his twenties, more fame, and came out the other side intact.

Braiding biography with “cultural history and criticism...that honors the complexity of [its] subject, even, perhaps particularly, when it gets ugly” (

 is the story of a richly complex life at the forefront of both the underground and popular cultures of post-war America. Including forty-five stunning black-and-white images throughout and a sixteen-page color insert featuring images both iconic and obscure “at once nuanced and propulsive” (

 spans the pressures of 1950s suburban America and Crumb's highly dysfunctional early family life; the history of comics and graphic satire; 20th-century popular music; the world of the counterculture; the birth of underground comic books in 1960s San Francisco with Crumb's 

; the economic challenges and dissolution of the hippie dream; and the path Robert Crumb blazed through it all.

Written with Crumb's cooperation, this fascinating, rollicking book takes in seven decades of Crumb's iconic works, including 

 and “floats Crumb on the rapids of his times” (

), capturing, in the process, the essence of an extraordinary artist.

Crumb: A Cartoonist's Life

Robert Therrien, 1993. Photo by Leo Holub

Edited with text by Ed Schad. Foreword by Joanne Heyler. Texts by Richard Armstrong, Darby English, and Kathryn Scanlon

Moving beyond his well-known monumental installations of tables and chairs, this tribute to Robert Therrien analyzes his understudied later works.

This book presents a fresh, accessible, and dynamic look at the work of American artist Robert Therrien, surveying over 40 years of his influential work, notably his underseen and understudied late works. Organized chronologically and thematically, emphasizing Therrien's iterative artistic practice of exploring sets of themes over time, the volume speaks to the nature of memory and how it is shaped by space, time and materials, placing his practice within the history of recent sculpture in Los Angeles and elsewhere. The book showcases Therrien's personal vocabulary of forms as they become a personal language of continuous creation for the artist over time. A single Therrien gesture can expand, contract, change materially, or seamlessly transform into other images entirely. At the heart of Therrien's practice is a sense of artistic animation, by turns fun, playful, and serious.

Robert Therrien: This Is a Story

Installation view of the exhibition titled Barbara Kruger at David Zwirner in New York, dated 2022.

Texts by Gary Indiane, Miwon Kwon, and Natalia Grabowska 

Thoughtfully curated volume that situates Kruger’s practice within decades of shifting cultural and political discourse

This book is published to coincide with the first comprehensive retrospective of this artist's work in Spain, at the Guggenheim Museum Bilbao. The publication includes an incisive 1999 essay by Gary Indiana, written with his characteristic sharpness and wit; Miwon Kwon’s foundational analysis of Kruger’s relationship to site, architecture, and institutional critique; Natalia Grabowska’s analysis of Kruger’s transformation of text into an architectural and special intervention; and a new conversation between Kruger and curator Lehka Hileman Waitoller, offering fresh insights into Kruger’s evolving engagement with language, media, and power.

Barbara Kruger: Another Day, Another Night

Contributions by Eva Birkenstock, Kathleen Bühler, Jenny Nachtigall, Rose Higham-Stainton, Sabeth Buchmann, Julia Bryan-Wilson, Michelle Kup, and Amy Sillman

A beautiful gathering of the famed artist’s work of the last 15 years

In her painting, American artist Amy Sillman expands the standards of abstraction using material and conceptual interventions in the painting process. She destabilizes purported dichotomies and hierarchies between figuration and abstraction, intimacy and clumsiness, ability and self-negation, process and completion. Now the serial drawings and paintings are multicolored, now monochrome, now they show complex forms, now figures or body parts. And they are always filled with delight in the process. 

 highlights her critical exploration of the history of painting and conveys her complex and sophisticated painterly practice on the canvas and beyond. This inspiringly designed book provides broad insights into Sillman’s approach to painting as a time-based medium, presenting in detail around 30 paintings and 300 works on paper, several digital animations, and site-specific installations, all of which were created in the last 15 years.

Amy Sillman: Oh, Clock! 

Midnight Tears, 2023. © Yoshitomo Nara. Collection of the Guggenheim Museum Bilbao

Contributions by Ralph Rugoff, Yeewan Koon, Josh Kun, Barry Schwabsky and Yung Ma.

More than a mere survey of Nara's signature children and animals, this clothbound publication features the artist's newest works, personal photographs, and pictures of his studio

Spanning four decades of work, this book offers readers the opportunity to immerse themselves in the personal and creative world of the Japanese artist Yoshitomo Nara, best known for his bold images of children with large heads and wide eyes that challenge viewers with their direct gaze and defiant stance. These captivating yet ominous characters are part of a wider visual vocabulary established by Nara to explore and communicate themes of home, isolation, resilience, belonging, regeneration, hope, and freedom. Organized thematically, the book provides a comprehensive overview of the evolution and breadth of Nara's artistic expression. Yeewan Koon explores how Nara's singular aesthetic is drawn from his formative experiences in Japan, as well as his ongoing environmental and societal concerns, which are deeply rooted in nature and the communities of Japan's northern Tohoku region, where he grew up. Barry Schwabsky's essay, illustrated with details of the artworks, focuses in depth on Nara as a painter. Josh Kun discusses the inspiration Nara takes from popular music—folk songs by American singer-songwriters featuring anti-war messages, melancholic blues and, later, glam rock, punk and new wave. The book also features an in-depth chronology illustrated with childhood photographs and pictures of Nara's studio, offering a deep dive into Nara's life and art. The corresponding exhibition is co-organized by Guggenheim Bilbao, Museum Frieder Burda, Baden-Baden, and the Hayward Gallery.

Yoshitomo Nara

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

Each card in this 54-card deck designed by Chris Ofili features a different woman, man or flower from the artist’s Afro Muse series, a body of work exhibited by the Studio Museum in Harlem in 2005.

Although reminiscent of someone, somewhere at some moment in time, these intimate watercolour images are figurative expressions rather than portraits of individuals. Like the characters that populate Ofili’s larger paintings, they derive from impressions and references from everyday life, memory and the history of art.

Chris Ofili: Afro Muses Playing Cards

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

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

Texts by Benjamin Buchloh, Aria Dean, Darby English, Mark Godfrey, Madeleine Grynsztejn, Cathérine Hug, Nikita Sena Quarshie, and Rebecca Zorach

Accompanying the largest UK survey to date of work by the legendary Chicago-based figurative painter



This volume is the most extensive publication on Kerry James Marshall to date, celebrating half a century of his work. It reveals the complex ways in which Marshall has transformed histories of Western painting, centering Black bodies in ambitious compositions set in barber shops, public housing projects, parks and beauty salons. It charts his use of portraiture to memorialize individuals such as Nat Turner, Harriet Tubman and Olaudah Equiano. A new series, illustrated here for the first time, looks at under-acknowledged aspects of the history of Africa. With lavish illustrations of all the works in the accompanying exhibition, the book also includes chapters on Marshall's 

 project and his various public commissions, including his stained-glass windows for the cathedral in Washington, DC. A survey by Mark Godfrey is accompanied by shorter essays by Aria Dean, Darby English and others, plus an interview between Kerry James Marshall and Benjamin H. D. Buchloh.


Kerry James Marshall: The Histories

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

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

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