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.

Out of stock

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

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

Mark Godfrey

Tom Holert

Since the early 1990s, Wolfgang Tillmans has established himself as one of the most exciting and innovative artists working today. The first photographer to win the Turner Prize (in 2000), his practice is characterized by constant investigation into the boundaries of the photographic medium and a preoccupation with the process of photography itself.

This new publication, accompanying an exhibition at Tate Modern, will examine Tillmans’s evolving practice showcasing his photography but also his video, digital slide projections, publications, and recorded music. Mark Godfrey gives an overarching view of Tillmans’s practice, from the physical materiality of the work, to space and installation, to his use of abstraction. Tom Holert focuses on Tillmans’s relationship with politics and society, with particular emphasis on events of the last 15 years and the way Tillmans uses images and methods of distribution to examine global concerns such as migration and identity politics.

The book is designed by the artist, and has a strong visual identity with a collectible feel. Photography and video stills are beautifully reproduced in full color while, in keeping with the artist’s non-hierarchical approach to media, documentary material will also be highlighted.

Wolfgang Tillmans: 2017

Max Henry

Anna Kats

Benedikt Ledebur

Julie Ryan

Texts by Max Henry, Anna Kats, and Julie Ryan. Conversation with the artist by Benedikt Ledebur. Sonnets by Benedikt Ledebur

With a large body of work mainly comprising mixed-media paintings, Tamuna Sirbiladze was known for her distinctive style, which continually forged new terms between dichotomous relationships. Abstract and figurative, playful and serious, energetic and quiet, vibrant and muted, Sirbiladze’s work is characterized by both its intensity and flexibility.

Known for the speed at which she worked, there is a quality of immediacy in her paintings, as if they provide direct access to her imagination. This primacy is perhaps most evident in her gestural, improvisatory paintings made with oil sticks on unstretched, raw canvas, which purposely retain the appearance of being unfinished. “As an artist,” Sirbiladze writes, “I don’t want to control what the representation will be seen as.” This catalogue presents a careful selection of these oil stick works along with her other paintings—including her celebrated 

 (2012), which was made in dialogue with iconic works by Caravaggio, Giotto, Raphael, and Velazquez, as well as her later paintings focused on women’s bodies in intimate, underrepresented scenes, Sirbiladze’s response to male dominance in the art world.

With contributions by Max Henry, Anna Kats, and Julie Ryan, as well as a conversation with the artist and an arrangement of fifteen sonnets by her partner, Benedikt Ledebur, this publication provides a comprehensive survey of Sirbiladze’s works and practice.

Tamuna Sirbiladze

An installation view of the exhibition, Suzan Frecon: recent paintings, oil and water, at David Zwirner in London, dated 2022.

Richard Shiff

The result of a deliberative process guided by careful attention to spatial relationships, Suzan Frecon’s large-scale oil paintings are composed of asymmetrical curves that result in minor and major measured areas of color.

Accompanying the artist’s solo exhibitions at David Zwirner, New York and London, in 2017, this publication features a selection of new monumental paintings carefully reproduced both as individual works and in installation views to best convey the experience of seeing the work. Depending on the viewer’s position and the time of day, the contrasts of matte and sheen, positive and negative, and immediacy and radiance combine to create an ongoing visual experience of always varying subtleties.

In contrast to the paintings, Frecon’s watercolors, also featured here, engage the relationship between paint and paper support. Each predetermined sheet—often from an agate-burnished old Indian ledger page—has its own innate character, properties, and irregular shape; its creases, holes, blemishes, and even faint writings become an integral component of the final watercolor.

“Their truth is the paint,” Frecon says, and in a specially commissioned essay acclaimed art historian Richard Shiff examines the new body of work in relationship to painting and the experience of looking.

Suzan Frecon: painting

Lucía Casani

Estrella De Diego

Raymond Pettibon

Introduction by Lucía Casani. Texts by Estrella De Diego and Raymond Pettibon.

 is published on the occasion of Marcel Dzama's eponymous exhibition at La Casa Encendida, Madrid. The exhibition proposes a tour of the artistic universe of Marcel Dzama while presenting for the first time much of his most recent production, in which the artist encourages activism through "revolution".

Through the Canadian artist's imagination, figures drawn from folk tales, the world of comics, and television coexist with twentieth-century terrorists, fictional animals, ballet dancers, and opera singers. The social and political questioning is therefore intertwined with a world of fables and complex narratives where carnival, war, mythological, and ironic make up an artistic vision that incites multiple readings.

Marcel Dzama: Drawing on a Revolution

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

Charles Gaines

Laurence Rassel

Greg Tate

Texts by Charles Gaines, Laurence Rassel, and Greg Tate

Alabama-born, Chicago-based Kerry James Marshall is one of the most exciting artists working today. Critically and commercially acclaimed, the painter is known for his representation of the history of African-American identity in Western art. Conversant with a wide typology of styles, subjects, and techniques, from abstraction to realism and comics, Marshall synthesizes different traditions and genres in his work while seeking to counter stereotypical depictions of black people in society. This is the most comprehensive overview available of his remarkable career.

Kerry James Marshall

Ingried Brugger

Heike Eipeldauer

Hal Foster

Martin Germann

Foreword by Ingried Brugger and Philippe Van Cauteren. Edited with texts by Heike Eipeldauer and Martin Germann. Conversation with the artist by Hal Foster

Marking the influential photographer’s first major European survey, this book features highlights from four decades of James Welling’s oeuvre.

Emerging out of the “Picture Generation”—a group of artists focused on a critique of photographic media—James Welling has gone on to experiment successfully in nearly every photographic genre. This monograph, designed by Joseph Logan in close collaboration with the artist, presents a selection of works from the early 1970s to today, demonstrating the artist’s conceptual foundations. Welling’s series are dialogues between image and matter, process and result, representation and abstraction. This volume includes, amongst other series, selections from 

, in which Welling matched the writing of his ancestors’ letters with Connecticut winter landscapes; 

 a meditation on Philip Johnson’s 1949 residence, shot using colored filters; 

, pure color photograms created in the darkroom; and 

, which track his early interest in painting and dance. The generous and vividly reproduced illustrations are accompanied by an extensive interview with the artist and critical essays that discuss Welling’s work in connection with American painting, post-modernism, and authorship, and the artist’s eloquently emotional photographic language.

James Welling: Metamorphosis

Lisa Lee

The work of German sculptor Isa Genzken is brilliantly receptive to the ever-shifting conditions of modern life. In her first book devoted to the artist, Lisa Lee reflects on Genzken’s tendency to think across media, attending to sculptures, photographs, drawings, and films from the entire span of her four-decade career, from student projects in the mid-1970s to recent works seen in Genzken’s studio.

Through penetrating analyses of individual works as well as archival and interview material from the artist herself, Lee establishes four major themes in Genzken’s oeuvre: embodied perception, architecture and built space, the commodity, and the body. Contextualizing the sculptor’s engagement with fellow artists, such as Joseph Beuys and Bruce Nauman, Lee situates Genzken within a critical and historical framework that begins in politically fraught 1960s West Germany and extends to the globalized present. Here we see how Genzken tests the relevance of the utopian aspirations and formal innovations of the early twentieth century by submitting them to homage and travesty. Sure to set the standard for future studies of Genzken’s work, 

 is essential for anyone interested in contemporary art.

Isa Genzken: Sculpture as World Receiver

Antonio Sergio Bessa

Jessamyn Fiore

Texts by Antonio Sergio Bessa and Jessamyn Fiore

"Undoing is just as much a democratic right as doing." — Gordon Matta-Clark

This revealing book looks at the groundbreaking work of Gordon Matta-Clark, whose socially conscious practice blurred the boundaries between contemporary art and architecture. After completing a degree in architecture at Cornell University, Matta-Clark returned to his home city of New York. There he employed the term “anarchitecture,” combining “anarchy” and “architecture,” to describe the site-specific works he initially realized in the South Bronx.

The borough’s many abandoned buildings, the result of economic decline and middle-class flight, served as Matta-Clark’s raw material. His series 

 dissected these structures, performing an anatomical study of the ravaged urban landscape. Moving from New York to Paris with 

, a piece that became emblematic of artistic protest, Matta-Clark applied this same method to a pair of seventeenth-century row houses slated for demolition as a result of the Centre Pompidou’s construction. This compelling volume grounds Matta-Clark’s practice against the framework of architectural and urban history, stressing his pioneering activist-inspired approach, as well as his contribution to the nascent fields of social practice and relational aesthetics.

Gordon Matta-Clark: Anarchitect

Max Wechsler

A tribute to the long collaboration between Franz West and Galerie Eva Presenhuber, this volume offers a comprehensive yet singular overview of the artist\s oeuvre. Gathering together extensive documentation and rare archive material on the numerous exhibitions they organized together since 1995, the book is designed by NORM (Zurich) and introduced by art theoretician and friend of the artist Max Wechsler, who followed the work of Franz West closely for many years. His illuminating foreword starts: "Without doubt, he was an odd bird, a gifted idler, a Vienna man sui generis and eccentric par excellence."

The relationship between Franz West and Eva Presenhuber began 20 years ago in Zurich. In 1995 West exhibited at the Galerie Walcheturm—"Franz West mit eine Geste von Raymond Hains. Telefonskulpturen. Sitz– und Liegegelegenheiten"—of which Eva Presenhuber was the owner from 1989 to 1997. This first collaboration was followed by many others, including 

 in 2002, and after the foundation of Galerie Eva Presenhuber in 2002, 

 (2011). After West’s death in 2012 Galerie Eva Presenhuber presented the shows 

 (2015–2016) in cooperation with the Franz West Privatstiftung. This publication underlines the importance of the gallery space as an artistic laboratory, and highlights this particular relationship between an artist and his gallerist, especially when this one is a long-lasting and fruitful dialogue.

95–15

Franz West: Galerie Eva Presenhuber

Wolfgang Tillmans: There were 30 years between 1943 and 1973. 30 years from 1973 was the year 2003.

1. Hamburg Süd part 1
2. MMMMM aah
3. Hamburg Süd part 2
4. HaHaHaHa
5. Hamburg Süd part 3
6. Nee IYaow eow eow
7. Hamburg Süd part 4
8. EEEEEEEhh
9. Hamburg Süd part 5
10. Device Control (intro)
11. Hamburg Süd part 6

12. It's Completely Changed
13. Throw A View
14. Mmmmeehh
15. Hihihi hee
16. Soda Streatm
17. Overdub (calm to chaos Jul28)
18. Morning Return
19. Make It Up As You Go Along
20. Device Control

Wolfgang Tillmans: Hamburg Süd / Nee IYaow eow eow

Albert Camus

Neil Cox

Francesco Stocchi

Michelle White

Texts by Albert Camus, Neil Cox, Francesco Stocchi, and Michelle White

Richard Serra: Drawings 2015–2017: Rambles, Composites, Rotterdam Verticals, Rotterdam Horizontals, Rifts

 at Museum Boijmans Van Beuningen in Rotterdam, this catalog is an in-depth look at the artist’s recent drawing practice.

The exhibition encompasses more than 70 works from five different series, 

, many of which have never been seen before publicly, as well as a selection of his notebooks and films. Examining the ways properties inherent to sculpture are brought onto paper, the drawings are epistemological adjuncts to Serra’s lifelong sculptural explorations.

Designed by McCall Associates in close collaboration with the artist, 

 features new scholarship by art historian Neil Cox and exhibition curator Francesco Stocchi, a chronology of the drawings by curator Michelle White, as well as a historical text by Albert Camus selected by Serra. This book introduces readers to Serra’s most recent series and reaffirms his innovation and contribution to the practice of drawing.

Richard Serra: Drawings 2015–2017

Featuring R. Crumb’s most outrageous sexual comics, Bible of Filth is possibly the dirtiest book around.

One of America’s most celebrated cartoonists, Crumb helped define cartoon and punk subcultures of the 1960s and 1970s with comic strips like 

. The open sexuality of his work, paired with frequent self-deprecation and a free, almost stream-of-consciousness style, has made Crumb into a global voice and a renowned contemporary artist.

Originally published in France in 1986 by Futuropolis, the first edition of 

 was never distributed in the United States because of its graphic sexual content, which included some of Crumb’s most explicit comics from underground magazines such as 

. This revised and expanded English edition, published by David Zwirner Books, contains all the original pieces from the 1986 volume, with over one hundred pages of additional material. Organized chronologically, there are comics from 1968 to 1986 that were omitted from the first edition and an entirely new selection of work from after 1986.

Printed on bible paper and bound in leather, with gold debossing and edging, this volume looks and feels like a traditional bible, with no outward suggestion of what it contains. This revised and expanded 

 is the perfect introduction for newcomers, while retaining its status as an important collector’s item for Crumb enthusiasts around the world.

R. Crumb: Bible of Filth

A detail from a work by Bridget Riley, titled Study for Measure for Measure Dark 2, dated 2019.

Portrait of Bridget Riley, 2021. Photo by Yuki Shima

Doro Globus

Karsten Schubert

Edited by Doro Globus and Karsten Schubert

The present volume includes the vast majority of significant essays on Bridget Riley written since 1999. This was a particularly fruitful period in the reception of her work, as the discourse broadened and her reputation as one of the most important painters of her generation solidified.

The essays range from biographical and career overviews to detailed analysis of specific aspects or themes that occur throughout Riley’s career. The selection reflects a rich body of work, which sustains the interest of important authors, as evidenced by multiple pieces by Éric de Chassey, Lynne Cooke, Robert Kudielka, Paul Moorhouse, and Richard Shiff. Together, this volume of essays tells the story of an artist whose art has continuously evolved over nearly six decades.

Most of the critical texts have been written in close consultation with the artist, the result of long conversations, studio visits and archive access. Largely commissioned on the occasion of particular exhibitions, these essays track and trace Riley’s focus and influences at different moments in time. Each essay builds upon the next, with more recent authors clearly responding and referencing earlier discourse. The result is a collection of great breadth and cohesion.

 represents a monumental body of research and analysis by some of the most important art historians of today. It also offers the opportunity for the reader and the viewer to approach Riley from a plethora of perspectives to form their own view, much reflecting Riley’s own particular approach to art history. As John Elderfield puts it: "Effectively, Riley makes a pact with the viewer, through the medium of the painting, that they will collaborate in eliciting from a particular painting a particular sort of mobile visual array. And, when the viewer stops looking at the painting, it will therefore be as if leaving something that continues to go on."

 Michael Bracewell, Nadia Chalbi, Eric de Chassey, Lynne Cooke, Jonathan Crary, John Elderfield, Lucius Grisebach, Martin Hentschel, Dave Hickey, Robert Kudielka, Anne Montfort, Paul Moorhouse, Marla Prather, Karen Serres, Richard Shiff, Frances Spalding, Barnaby Wright and Semir Zeki

About Bridget Riley: Selected Writings 1999–2016

All Books

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