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

Texts by by Brett Littman and Jeff Fleming. Interview with the artist by Ena Swansea

Neo Rauch: Aus dem Boden / From the Floor

 reproduces the first exhibition entirely devoted to his drawings in the United States. Neo Rauch is one of the best-known artists from the Leipzig school in Germany. His psychologically complex paintings have been widely collected and written about for more than twenty years. Featuring more than one hundred fifty never or rarely seen works that span over thirty years of Rauch’s career, this catalogue presents drawing as an essential but often overlooked aspect of his oeuvre. A collaboration between The Drawing Center and the Des Moines Art Center, the show was presented first in Des Moines in 2018.

The drawings, which Rauch describes as “dreams on paper,” are made during periods of intense painting activity and are left on the floor of the studio for his assistant to pick up and place in flat files for storage. Rauch, who never makes preparatory sketches or drawings before he begins painting, uses the medium instead to mine his own subconscious and to visualize characters and scenarios for the works in progress. His drawings range from thumbnail compositional sketches for paintings, to phone doodles, figure and landscape studies, and to more formal and completed works.

Mamma Andersson, 2023. Photo by Pierre Björk

Kevin Moore

Painters often draw from existing visual materials, such as photographs and reproductions of past works of art, to inspire and construct their work. Swedish artist Mamma Andersson (born 1962)—known for her dreamlike, faintly narrative compositions inspired by Nordic painting, folk art and cinema—is no exception.

But Andersson takes this process a step or two further, importing images of stacks of books and stray photographs, clipped from various sources, directly into her painted compositions. With careful observation, Andersson's dreamy landscapes and interiors slowly come to reveal common imagery and accumulated biblio-ephemera filtered through, and sharing space with, the artist's muted palette, melancholic scenery and textural paint. 

focuses on this aspect of Andersson's painting practice, exploring how her use of appropriation and collage charges her paintings with an eerie, uncanny sense of familiarity.

Out of print

Mamma Andersson: Memory Banks

Lucas Arruda at the print shop René Tazé, Paris, 2023. Photo by Matthew Avignone

Fernanda Brenner

Chris Sharp

Texts by Fernanda Brenner and Chris Sharp

Cahiers d’Art in Paris presents a solo show by Lucas Arruda and a new monograph on the artist. While all of Arruda’s works are untitled, this exhibition, like each of his solo presentations to date, is named 

. Drawn from private collections, on view are intimately sized paintings of landscapes and seascapes characterized by their subtle rendition of light as well as new prints edited by Cahiers d’Art, a historic publisher that works directly with artists on limited-edition books, prints, and catalogues raisonnés. Made in the Paris workshop of American printer Michael Woolworth, Arruda’s print works are an extension of his painting practice, which focuses on near-abstract, atmospheric compositions created from memory.

Published by Cahiers d’Art with three different cover images, the monograph explores Arruda’s pursuit of light in his paintings. The book includes seventy-five illustrations and texts by Fernanda Brenner, curator and director of Pivô, an independent art center in São Paulo, and Mexico-based curator and writer Chris Sharp, as well as excerpts from a conversation between the artist and Hans Ulrich Obrist.

Lucas Arruda

Josef Albers (1888–1976) was one of the leading pioneers of 20th-century modernism: he was an extraordinary teacher, writer, painter, and color theorist, who is best known for the 

, published by Yale University Press in 1963.

This generously illustrated overview of Albers’s work, accompanying the first major exhibition on the artist in more than thirty years, features all aspects of his long, creative career. Beginning with Albers\s time at the Bauhaus in Weimar and Dessau, the publication follows the artist to America and describes major themes of his work there as well as the importance of his frequent travels to Mexico. Paintings, prints, furniture, household objects, works in glass, photographs, and pre-Columbian sculptures are beautifully reproduced and discussed by a team of experts. The juxtaposition of Renaissance sculptures and icons with paintings by Albers underlines the intellectual and spiritual dimensions of his art, and Albers’s influence on 1960s Minimalist art is also explored.

Including a comprehensive biography, the book convincingly demonstrates how this great artist transformed modern design by using line, color, surface, and space to challenge the perception of the viewer.

Josef Albers: Interaction

Jordan Wolfson, 2023, National Gallery of Australia. Photo by Karlee Holland. Courtesy National Gallery of Australia

Introduction by Beatrix Ruf and Martijn van Vieuwenhuyzen. Texts by Alison M. Gingeras and Jamieson Webster, Jack Bankowsky, and Mark Godfrey.

Exploring new works by the provocative and irreverent American multimedia artist Jordan Wolfson.

Jordan Wolfson is known for his thought-provoking works in a wide range of media, including video, sculpture, installation, photography, and performance.

Produced in partnership with the Stedelijk Museum Amsterdam, this book focuses on two major new works, 

(2014). Operating somewhere between sculpture and interactive installation, these pieces rely on Wolfson’s contradictory relationship with technology to create an unsettling tension between the figure and the spectacle. Like 

, Wolfson’s virtual-reality piece shown at the Whitney Biennial, and indeed much of his work in other media, the perspective becomes more complex once the works engage with viewers through movement and sound.

With original texts by Jack Bankowsky, Alison Gingeras, and Joey Frank illustrated with details of Wolfson’s other major works and installations—including his critically acclaimed films 

(2012)—this is the most important book on Wolfson’s work to date.

Jordan Wolfson: Manic / Love / Truth / Love

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

Texts by Jacqueline Francis, Catharina Manchanda, and Lowery Stokes Sims

Contemporary artists Robert Colescott (1925–2009), Kerry James Marshall (b. 1955), and Mickalene Thomas (b. 1971) are distinguished by their attention to a history of representation, which they re-visit and revise to reflect on individual and collective Black experience. Equally engaged with social and political histories, and the history of art, Colescott, Marshall, and Thomas have created works that at times poignantly and satirically critique dominant narratives and posit alternatives. By considering these artists together, this thought-provoking book expands our understanding of contemporary history painting, a genre first defined during the 17th century and known for didactic paintings that often depicted Biblical or mythological subjects, and expressed the tastes and narratives of a ruling class. Colescott, Marshall, and Thomas marry appreciation of these traditional forms of representation to a deep understanding of contemporary American culture to create insightful works that disrupt historic narratives and read canonic art history against the grain.

Out of stock

Figuring History: Robert Colescott, Kerry James Marshall, Mickalene Thomas

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

, bastion of late modernism, featured the work of a photographer for the very first time. On its cover and in a six-page spread, it published selections from Diane Arbus's portfolio, 

. In the words of the magazine’s editor and photography skeptic, Philip Leider, “The portfolio changed everything . . . one could no longer deny [photography’s] status as art.” At the time of Arbus’s death, two months later, only four of the intended edition of fifty had been sold. Two had been purchased from Arbus by Richard Avedon (the first for himself, the second as a gift for his friend Mike Nichols); another was purchased by Jasper Johns; and a fourth by Bea Feitler, art director at Harper’s Bazaar. Arbus signed the prints in all four sets; each print was accompanied by an interleaving vellum slip-sheet inscribed with an extended caption. For Feitler, Arbus added an eleventh photograph, 

Acquired by the Smithsonian American Art Museum, Washington, D.C., in 1986—and the only one of the four completed and sold by Arbus that is publicly held—that portfolio was the subject of an exhibition on view at the museum in 2018. This exceptional book replicates the nature of Diane Arbus’s original and now legendary object. Smithsonian curator John P. Jacob, who has unearthed a trove of new information in preparing the book and exhibition, weaves a fascinating tale of the creation, production, and continuing repercussions of this seminal work.

Diane Arbus: A box of ten photographs

Mark Wigley

By Mark Wigley. Contributions by Gordon Matta-Clark.

Cutting Matta-Clark: The Anarchitecture Investigation 

is a detective story. It relentlessly pursues the legendary but invisible Anarchitecture Group show and Gordon Matta-Clark’s celebrated, hyper-visible, yet equally misunderstood building cuts. Of all the shows at the fabled 112 Greene Street space—an epicenter of New York’s downtown art scene in the 1970s—the Anarchitecture Group show of March 1974 is a constant reference point in discussion, despite the almost complete lack of evidence about it. It has become a foundational myth. Gordon Matta-Clark was supposedly the ringleader of an extended series of meetings with fellow artists that operated as a kind of collective research seminar challenging all conventional understandings of architecture. The meetings of this so-called Anarchitecture Group culminated in the exhibition as an anonymous statement in unlabeled photographs. But did it actually happen? It exists only through oblique archival traces and the conflicting memories of the participants. An unprecedented dossier of unpublished archival evidence is assembled here and subjected to ever deeper forensic analysis—cutting into both the concepts and the cuts to see what the elusive, mysterious, seductive, yet viral word Anarchitecture offers us today.

Contains interviews with Tina Girouard, Jene Highstein, Dickie Landry, Jeffrey Lew, Richard Nonas, Bernard Kirschenbaum, and Susan Weil Kirschenbaum.

Cutting Matta-Clark: The Anarchitecture Investigation

Bertold Brecht

David Crowley

Deeply political and historical, Christopher Williams’ photographs evoke a subtle shift in our perception by questioning the communication mechanisms and aesthetic conventions that influence our understanding of reality. Deploying a style of photography that references multiple sources and precedents, including the carefully composed and well-lit images of the 1920s New Objectivity movement, the photo-conceptualism that he encountered as a student at CalArts in the 1970s, and the advertisement industry, Williams creates layered works that critically, but also playfully, reveal the conditions of the medium in post-industrial society.

Each of the two volumes in this slipcased publication by Christopher Williams (born 1956) comprises an identical image sequence, but each contains a different text: the first volume includes Brecht's 

, and the second David Crowley's essay "Applied Fantastic: On the Polish Women’s Magazine Ty I Ja."

Christopher Williams: Normative Models

Text by Leslie Umberger. Foreword by Stephanie Stebich. Introduction by Kerry James Marshall

A major new look at the work of one of America’s foremost self-taught artists.

Bill Traylor (ca. 1853–1949) came to art-making on his own and found his creative voice without guidance; today he is remembered as a renowned American artist. Traylor was born into slavery on an Alabama plantation, and his experiences spanned multiple worlds—black and white, rural and urban, old and new—as well as the crucibles that indelibly shaped America—the Civil War, Reconstruction, Jim Crow, and the Great Migration. 

 presents an unparalleled look at the work of this enigmatic and dazzling artist, who blended common imagery with arcane symbolism, narration with abstraction, and personal vision with the beliefs and folkways of his time.

Traylor was about twelve when the Civil War ended. After six more decades of farm labor, he moved, aging and alone, into segregated Montgomery. In the last years of his life, he drew and painted works depicting plantation memories and the rising world of African American culture. Upon his death he left behind over a thousand pieces of art. 

 convenes 205 of his most powerful creations, including a number that have been previously unpublished. This beautiful and carefully researched book assesses Traylor’s biography and stylistic development, and for the first time interprets his scenes as ongoing narratives, conveying enduring, interrelated themes.

 reveals one man’s visual record of African American life as a window into the overarching story of his nation.

Between Worlds: The Art of Bill Traylor

Texts by Ann Coxon, Briony Fer and Maria Müller-Schareck. Contributions by Brenda Danilowitz, Magdalena Droste, Nicholas Fox Weber, María Minera, Priyesh Mistry, Jennifer Reynolds-Kaye, and T'ai Smith

A long-overdue reassessment of one of the most important and influential woman artists working at midcentury.

Anni Albers (1899–1994) was a German textile designer, weaver, and printmaker, and among the leading pioneers of 20th-century modernism. Although she has heavily influenced generations of artists and designers, her contribution to modernist art history has been comparatively overlooked, especially in relation to that of her husband, Josef. In this groundbreaking and beautifully illustrated volume, Albers’s most important works are examined to fully explore and redefine her contribution to 20th-century art and design and highlight her significance as an artist in her own right.

Featured works—from her early activity at the Bauhaus as well as from her time at Black Mountain College, and spanning her entire fruitful career—include wall hangings, designs for commercial use, drawings and studies, jewelry, and prints. Essays by international experts focus on key works and themes, relate aspects of Albers’s practice to her seminal texts 

, and identify broader contextual material, including examples of the Andean textiles that Albers collected and in which she found inspiration for her understanding of woven thread as a form of language. Illuminating Albers’s skill as a weaver, her material awareness, and her deep understanding of art and design, this publication celebrates an artist of enormous importance and showcases the timeless nature of her creativity.

Anni Albers

Hillary Chute

By Aline Kominsky-Crumb. Foreword by Hillary Chute

The early work of the pioneering feminist cartoonist plus her acclaimed new story "Dream House".

Aline Kominsky-Crumb immediately made her mark in the Bay Area’s underground comix scene with unabashedly raw, dirty, unfiltered comics chronicling the thoughts and desires of a woman coming of age in the 60s. Kominsky-Crumb didn’t worry about self-flattery. In fact, her darkest secrets and deepest insecurities were all the more fodder for groundbreaking stories. Her exaggerated comix alter-ego, Bunch, is self-destructive and grotesque but crackles with the self-deprecating humor and honesty of a cartoonist confident in the story she wants to tell.

Collecting comics from the 1970s through today, 

 is shockingly prescient while still being an authentic story of its era. Kominsky-Crumb was ahead of her time in juxtaposing the contradictory nature of female sexuality with a proud, complicated feminism. Most importantly, she does so without apology.

Kominsky-Crumb traces her steps from a Beatles loving fangirl, East Village groupie, an adult grappling with her childhood, an 80s housewife and mother, to a new thirty-page story "Dream House" that looks back on her childhood, forty years later. One of the most famous and idiosyncratic cartoonists of our times, 

 will be Kominsky-Crumb’s only solo-authored book in print. Originally published as a book in 1990, this new expanded edition follows Kominsky-Crumb to the present, including a foreword penned by noted comics scholar Hillary Chute.

Aline Kominsky-Crumb: Love That Bunch

Foreword by Bartomeu Marí. Texts by Kim Inhye, Oh Gwangsu, Kim Hyunsook, and Choi Jongtae

This catalogue is published with an exhibition of work by Korean artist Yun Hyong-keun at the National Museum of Modern and Contemporary Art in Seoul. One of the leading figures of the Dansaekhwa art movement, Yun’s paintings are inspired by nature, combining a palette of umber and ultramarine (the colors of earth and water) to create rectilinear compositions which are reminiscent of traditional ink-wash paintings. The investigation into flatness, materiality, and meditation in art-making is a consistent focus of his work, and his paintings characterize the elements of tactility, spirituality, and performance common to first-generation Dansaekwha artists.

Yun Hyong-keun (MMCA)

Langston Hughes

Sherry Turner DeCarava

Photographs by Roy DeCarava. Text by Langston Hughes. Afterword by Sherry Turner DeCarava

“The people in these photographs had no walls up. They just accepted me and permitted me to take their photographs without any self-consciousness.” —Roy DeCarava

 is a “poem” about ordinary people, about teenagers around a jukebox, about children at an open fire hydrant, about riding the subway alone at night, about picket lines and artist work spaces. This renowned, life-affirming collaboration between artist Roy DeCarava and writer Langston Hughes honors in words and pictures what the authors saw, knew, and felt deeply about life in their city.

Hughes’s heart-warming description of Harlem in the late 1940s and early 1950s is seen through the eyes of one grandmother, Sister Mary Bradley. As she guides the reader through the lives of those around her, we imagine the babies born, families in struggle, children yet flourishing. We experience the sights and sounds of Harlem as seen through her learned and worldly eyes, expressed here through Hughes’s poetic prose. As she states, “I done got my feet caught in the sweet flypaper of life and I’ll be dogged if I want to get loose.” DeCarava’s photographs lay open a world of sense and feeling that begins with his perception and vision. The ruminations go beyond the limit of simple observation and contend with deeper meanings to reveal these individuals as subjects worthy of art. While Hughes states “We’ve had so many books about how bad life is, maybe it’s time to have one showing how good it is,” the photographs bring us back to this lively dialogue and a complex reality, to a resolution that stands with the optimism of the photographic medium and the certainty of DeCarava’s artistic moment.

In 1952 DeCarava became the first African American photographer to win a John Simon Guggenheim Memorial Fellowship. The one-year grant enabled DeCarava to focus full time on the photography he had been creating since the mid-1940s and to complete a project that would eventually result in 

, a moving, photo-poetic work in the urban setting of Harlem. DeCarava compiled a set of images from which Hughes chose 141 and adeptly supplied a fictive narration, reflecting on life in that city-within-a-city. First published in 1955, the book, widely considered a classic of photographic visual literature, was reprinted by public demand several times. This fourth printing, the Heritage Edition, is the first authorized English-language edition since 1983 and includes an afterword by Sherry Turner DeCarava tracing the history and ongoing importance of this book.

The Sweet Flypaper of Life (hardcover)

Alison Gingeras

Texts by Fernando Francés and Alison Gingera

The CAC Málaga presents the first exhibition in Spain by Rose Wylie. 

, curated by Fernando Francés, brings together twenty-nine works by the English artist, some of them being shown for the first time. Wylie, born in the 1930s, surprises and captivates us with the energy, vivacity, and freshness of her work. Her creativity is channelled through her impressions and her memory. On occasions, Wylie leaves aside her brushes to paint directly on the canvas with her hands, taking inspiration from different sources, including history, film, comics, the news, anecdotes, celebrities, and sports.

Rose Wylie: Hullo Hullo...

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

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

Victor Wang

Spotlight Series

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 

 and bilingual English/traditional Chinese editions.

Oscar Murillo: the build-up of content and information (Bilingual)

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

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

Michael Bracewell

The first in a series of small-format publications devoted to single bodies of work, 

 highlights Michaël Borremans’s new work, which features toddlers engaged in playful but mysterious acts with sinister overtones and insinuations of violence.

Known for his ability to recall classical painting, both through technical mastery and subject matter, Borremans’s depiction of the uncanny, the perhaps secret, the bizarre, often surprises, sometimes disturbs the viewer. In this series of work, children are presented alone or in groups against a studio-like backdrop that negates time and space, while underlining the theatrical atmosphere and artifice that exists throughout Borremans’s recent work. Reminiscent of cherubs in Renaissance paintings, the toddlers appear as allegories of the human condition, their archetypal innocence contrasted with their suggested deviousness.

In his accompanying essay, critic and curator Michael Bracewell takes an in-depth look into specific paintings, tackling both the highly charged subject matter and the masterly command of the medium. He writes, “The art of Michaël Borremans seems always to have been predicated on a confluence of enigma, ambiguity, and painterly poetics—accosting beauty with strangeness; making historic Romanticism subjugate to mysterious controlling forces that are neither crudely malevolent nor necessarily benign.” Published on the occasion of Borremans’s eponymous exhibition at David Zwirner in Hong Kong, this publication is available in both 

 and bilingual English/traditional Chinese editions.

Michaël Borremans: Fire from the Sun (Bilingual)

Texts by Daniel Garza Usabiaga and Federica Zanco. Conversation with Roger Duffy, Amavong Panya, and Lilian Tone by Edward Vazquez

In 2016, sculptures by Fred Sandback (1943–2003) were installed in the Casa Luis Barragán, the Casa Antonio Gálvez, Cuadra San Cristóbal, and the Casa Gilardi of Luis Barragán (1902–1988). The American minimalist and the Pritzker Prize-winning Mexican architect share a common interest in the properties of light and color; the remarkable interplay between their works, documented in photographs, is presented for the first time in this publication, with essays by Barragán Foundation Director Federica Zanco and curator Daniel Garza Usabiaga, as well as a conversation between architect Roger Duffy, artist Amavong Panya, curator Lilian Tone, and author Edward Vazquez.

Luis Barragán/Fred Sandback: The Properties of Light

A detail from a painting by Portia Zvavahera, titled This is where I travelled [3], dated 2020.

Portia Zvavahera, Ndirikukuona (I can see you), 2021

Design and layout of a monograph for Portia Zvavahera, which traces the Zimbabwean artist’s work from 2013 to early 2017, encompassing her major series I Can Feel It in My Eyes (2015) and What I See Beyond Feeling (2016). Generous reproductions of her paintings on canvas and paper are prefaced by an essay by Nomaduma Rosa Masilela.

Portia Zvavahera: I'm with You

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

This publication accompanies Fondation Beyeler’s survey on the great photographic innovator Wolfgang Tillmans (born 1968). Tillmans first made a name for himself in the early 1990s, with photographs that captured an entire generation and a youth culture of which he was part, and which are now iconic images of that era. However, he quickly expanded his focus, creating works with and without a camera, producing photographs printed as C-prints on photographic paper, as inkjet prints on paper, or as photocopies. Some of these photographs acquire a sculptural, objectlike quality. Tillmans has also developed new compositional and formal, anti-hierarchical ways of installing his pictures in spaces. This substantial, clothbound volume offers a comprehensive overview of his achievements.

Wolfgang Tillmans

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Melissa Chiu

Alexander Dumbadze

Gloria Sutton

Miwako Tezuka

Texts by Melissa Chiu, Alexander Dumbadze, Gloria Sutton, and Miwako Tezuka

World-renowned Japanese artist Yayoi Kusama has worked in a variety of media, including painting, sculpture, performance art, and installation. Kusama’s iconic Infinity Mirror Rooms, which originated with 

 in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama's “self-obliteration” in the Vietnam War era to her more harmonious aspirations in the present.

By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize the body of work amidst the resurgence of experiential practices within the global landscape of contemporary art. Generously illustrated, this publication invites readers to examine the series’ impact over the course of the artist’s career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

Yayoi Kusama: Infinity Mirrors

Sarah Suzuki

Ellen Weinstein

By Sarah Suzuki. Illustrations by Ellen Weinstein. Works of art by Yayoi Kusama

Growing up in the mountains of Japan, Yayoi Kusama dreamed of becoming an artist. One day, she had a vision in which the world and everything in it—the plants, the people, the sky—were covered in polka dots. She began to cover her paintings, drawings, sculptures, and even her body with dots. As she grew up, she traveled all around the world, from Tokyo to Seattle, New York to Venice, and brought her dots with her. Different people saw these dots in different ways—some thought they were tiny, like cells, and others imagined them enormous, like planets. Every year, Kusama sees more of the world, covering it with dots and offering people a way to experience it the way she does.

Written by Sarah Suzuki, a curator at The Museum of Modern Art, and featuring reproductions of Kusama’s instantly recognizable artworks, this colorful book tells the story of an artist whose work will not be complete until her dots cover the world, from here to infinity.

Yayoi Kusama: From Here to Infinity

Laura Hoptman

Udo Kultermann

Catherine Taft

Akira Tatehata

Texts by Akira Tatehata, Laura Hoptman, Udo Kultermann, and Catherine Taft

An updated edition of the acclaimed monograph, celebrating one of the most iconic and revolutionary artists of our time.

"Yayoi Kusama transcended the art world to become a fixture of popular culture, in a league with Andy Warhol, David Hockney, and Keith Haring." —

Kusama is internationally renowned for her groundbreaking work on themes such as infinity, self-image, sexuality, and compulsive repetition. A well-known name in the Manhattan scene of the 1960s, Kusama's subsequent work combined Psychedelia and Pop culture with patterning, often resulting in participatory installations and series of paintings. This revised and expanded edition of the 2000 monograph, has been augmented by an essay by Catherine Taft and a collection of new poems by the artist.

Revised and Expanded Edition

Yayoi Kusama

According to photographer Wolfgang Tillmans (born 1968), “for the chosen few, flying Concorde is apparently a glamorous but cramped and slightly boring routine while to watch it in air, landing or taking off is a strange and free spectacle, a super modern anachronism and an image of the desire to overcome time and distance through technology.” With no text other than the inner-front flap’s description, this fifth printing of Tillmans’s now iconic artist’s book (first published in 1997) consists of 62 color photographs of the Concorde airplane—taking off, landing or in flight, and sometimes as just a tiny, birdlike silhouette in the sky. The photographs speak of both the beauty and the environmental devastation produced by this fabled French airplane, both sides of which Tillmans captures in his casual yet formally elegant signature style.

Wolfgang Tillmans: Concorde

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