Sigmar Polke, Magnetische Landschaft (Magnetic Landscape), 1982

Elena Geuna

Guy Tosatto

The artist who dared put into question the parameters of ordinary vision. One of the main exponents of Capitalist Realism—a current that arose in the 1970s in opposition to both the Socialist Realism widespread in the countries of Eastern Europe and Western pop art—Sigmar Polke was a tireless experimenter of techniques, art materials, and chemical-alchemical processes. He created figurative paintings that drew on a vast iconographic repertoire, often inspired by everyday life, and abstract works with a powerful symbolic value, sometimes created by chance through reactions between paint and other products. The book reproduces over eighty-five of his works (including photographs and sculptures, along with numerous paintings), giving a full account of Polke’s reflections and studies made over his fifty-year career.

Sigmar Polke

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

Kay Heymer

Sherrie Levine: African Masks After Walker Evans

 continues the artist’s questioning of traditional ideas of originality and authorship, developed over four decades, and her interest in the deconstruction of images and objects from the past in order to create new relationships with contemporary audiences today. Through repetition, duplication and restatement, this series not only re-examines the central and ongoing concerns of Levine’s artistic practice but also revisits one of the most prominent subjects of her oeuvre – the work of Walker Evans.

I–XXIV 

Sherrie Levine: African Masks After Walker Evans

Ulrich Loock

Raymond Pettibon

Lucas Zwirner

Foreword by Dirk Luckow and Sabine Breitwieser. Introduction by Ulrich Loock and Harald Falckenberg. Texts by Ulrich Loock, Raymond Pettibon, and Lucas Zwirner

Philosophically profound, deeply literary and biting in his satire, Raymond Pettibon is the foremost draftsman of his generation, and one of America’s most important contemporary artists. Approaching “high” and “low” subject matter with equal appetite and comfort, Pettibon plumbs the depths of American sexuality, politics, subcultures, mores, and intellectual histories through themes ranging from Shakespeare to Gumby, surfers to the Bible, baseball to German Romanticism.

Published on the occasion of his major European traveling retrospective at the Deichtorhallen Hamburg – Sammlung Falckenberg, 

 presents over six hundred works from every part of the artist’s career, the majority of which have never been shown before. Arranged thematically in thirty-two chapters, this unique catalogue charts the appearance and development of the themes that have come to define Pettibon’s expansive oeuvre. Different sections are introduced with excerpts from interviews conducted with the artist, and are further discussed in a detailed appendix by curator Ulrich Loock. Beyond shedding valuable light on the genesis and cross-pollination of Pettibon’s thematic interests, this catalogue is the first to tackle the artist’s work as a whole—as a kind of hive mind of American culture whose various branches constantly address and reinterpret one another. Of particular interest are Pettibon’s own readings of individual works in the book. In excerpts paired with corresponding images, Pettibon guides readers through his complex, often meandering turns of thought; never condescending, they invite readers to enter more deeply into his thinking without sacrificing the intellectual rigor and sense of mystery that makes Pettibon’s work so compelling and challenging. The book includes a complete facsimile of his first artists’ book, 

—almost entirely unavailable for decades—in addition to numerous early drawings completed with his nephew, record covers, flyers, and sections dedicated to collages and drawings from the 1980s to today. Also featured are biographical notes compiled by Lucas Zwirner, offering a nuanced, insightful reading of Pettibon’s history, whose early life and work is often simplified and categorically tied to punk rock, and instead underscores the complexities surrounding the artist’s long-standing relationship with art, literature, and American culture. This unparalleled selection of Pettibon’s work is the definitive single volume for novices and experts alike.

Collected Works

Raymond Pettibon: Homo Americanus

Byron Coley

Jonathan Lethem

Kitty Scott

Robert Storr

Texts by Byron Coley, Jonathan Lethem, Kitty Scott, and Robert Storr

Produced in close collaboration with the artist, this comprehensive collection of Raymond Pettibon’s work spans his early flyers for the influential band Black Flag through his most recent political work, and includes previously unpublished material, as well as zines, posters, and excerpts from screenplays. Perhaps unlike any artist of his generation, Pettibon best captured the discontent and counterculture spirit of the late 1970s and early 80s in America.

Immersed in the punk scene in Southern California, he devoted his earliest work to flyers for Black Flag and zines that he created and sold in local record stores. His distinctive style took shape in those early days: slyly sophisticated pen-and-ink drawings with cartoonlike flourishes. With biting irony and a searing wit, Pettibon let loose on the hypocrisies and greed of the capitalist political machine. His work captured the attention of the Los Angeles art scene and, eventually, the international art world.

Also included is a collaboration between Jonathan Lethem and the artist, commissioned specifically for the book.

 surveys the splenetic drawings of another disaffected son of Southern California.” –Bookforum

“Pettibon’s drawings are a world unto themselves, or rather a reflection of and reaction to the world as he sees it…It’s an impressive tome, heavy, beautifully printed, and slipcased.”

Raoul De Keyser, 2009. Photo by Christophe Vander Eecken

Often understated, the emotional force of Raoul De Keyser’s cryptic and highly lyrical paintings is undeniable. Composed of very basic geometric shapes that hover between abstraction and figuration, many of De Keyser’s works seem to hint at forms just out of focus, spaces impossible to inhabit. Their power lies in their ability to suggest through simple gestures, and to compel intense contemplation. Since his death in 2012, De Keyser’s stature as a painter has only continued to grow, as has his influence on a younger generation of European painters.

 is published on the occasion of the eponymous show at David Zwirner, first presented at the London gallery in November 2015 and traveling to New York in 2016. Curated by Ulrich Loock, who contributes the catalogue’s text, the exhibition is organized around a group of twenty-two paintings that the artist completed shortly before his death. Collectively, these works have become known as 

. Imposing stark material and formal limitations, De Keyser was able to revisit in this body of work many of the major subjects and themes that occupied him throughout his nearly fifty-year career: the inconspicuous things close at hand, the landscape of the low lands where he grew up and lived all his life, and the partition of the picture plane. This elegant catalogue presents plates and details of a careful selection of paintings, beginning in the 1970s, that emphasizes the tentative way De Keyser chose to explore his themes—never approaching anything directly, hinting rather than demonstrating. Taken together, 

 reveals an uncompromising artist who continued to pose new aesthetic problems for himself—even at the end of his life—and managed to come up with original and deeply moving solutions.

Raoul De Keyser: Drift

Texts by Angela Lampe, Michael Baumgartner, Charles W. Haxthausen, Christine Hopfengart, Cathrin Klingsohr-Leroy

Known for its whimsy and levity, Paul Klee’s art is often considered gleefully childlike. This groundbreaking volume argues that Klee’s style emerged from a philosophical school that originated with early German Romanticism and consisted of perpetual shifts between satire and affirmation of the absolute, finite and infinite, and real and ideal. Featuring approximately 250 works, this careful appreciation of Klee connects each stage of his career to the larger philosophical context.

Exploring the satires and caricatures of Klee’s youth, his experimentations in Cubism and “mechanical theater,”and the constructivist approach of the Bauhaus school, this book follows the trajectory of Klee’s oeuvre as a reflection of prevailing styles. It closes with the artist’s final years, in which he was labeled a “degenerate artist” by the Nazi regime and struggled with illness. Viewed through the many facets of irony as a complex theme, and against the backdrop of Europe’s seismic political and artistic movements, Klee’s body of work takes on a renewed significance as one of the most critical of its generation.

Paul Klee: Irony at Work

A painting by On Kawara, titled MAY 11, 1967, dated 1967.

On Kawara, One Million Years (Past), 1970-1971, Page 2001

Tommy Simoens

Jonathan Watkins

Texts by Tommy Simoens and Jonathan Watkins

On Kawara (1932–2014) is considered to be one of the most important and most radical modern artists of our time. His oeuvre is consumed with time and place, concepts that he used to try and map out the meaning of human existence.

 focuses on Kawara’s creations from 1966, which was a key year within his oeuvre as it was the birth of his world-famous date paintings—small paintings in which he inscribed the exact date on which he created the painting in white letters and numbers on a monochromatic background. If a painting wasn’t complete by midnight, it was destroyed. Since the start of the 

 series, as the entire collection is called, in 1966, he created more than 2,000 date paintings in more than 100 different cities. The artist used a folder to accurately record the days on which he created a painting and what the format was. He also kept a smear of the paint he used and the newspaper headlines for that day in this folder. This folder, in which he documented his 1966 creations, is fully portrayed in 

In 2015, Kawara’s date paintings from 1966 were displayed in the Dhondt-Dhaenens Museum in Deurle. This was the last project that the artist collaborated on, together with the museum curator and the editor of this book, Tommy Simoens, before his death in 2014.

On Kawara: 1966

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

Portrait of Njideka Akunyili Crosby. Photo by Stefan Ruiz

Texts by Cheryl Brutvan and Taiye Selasi

This catalogue is the first publication to focus on the work of Nigerian-born, L.A.-based artist Njideka Akunyili Crosby. It accompanied an exhibition of the artist's work held at the Norton Museum of Art in West Palm Beach, Florida in 2016. Contents include an introductory essay by exhibition curator Cheryl Brutvan, Taiye Selasi's text "Bye-Bye, Babar (Or: What Is An Afropolitan?)", artist interview, artist's chronology, and select bibliography and exhibition history. With full color reproductions of all works in the exhibition.

Out of stock

Njideka Akunyili Crosby: I Refuse to be Invisible

"This is a Book of Drawings that was made by me, Jason Rhoades over the time of the conception, production, erection and realization of a project / sculpture 'Perfect World'.”

 is a large-scale artist’s book consisting of over 400 single-sided reproductions of Rhoades’s drawings and handwritten notes, bound together by four aluminum screw bolts. Although originated by the artist during the presentation of his immense and critically acclaimed exhibition 

 at the Deichtorhallen Hamburg in 1999, 

 was not an actual catalogue for the show, but instead a stand-alone object produced as part of the preparation for, and creation of the piece. Intended as a sort of user’s manual, the book reveals the artist’s grappling with the enormity of the 

 exhibition, as well as the conceptual and physical challenges he was facing in his creative process more generally.

 on the occasion of the 2016 LA Art Book Fair. This numbered edition of 100 copies features all the original black and white reproductions as well as one of Rhoades’s original cover designs, a color photograph depicting his father’s garden.

Jason Rhoades: Xerox Book

Antoon Melissen

Over the course of nearly 40 years, Dutch artist Jan Schoonhoven (1914–1994) produced works on paper and sculptural reliefs, while maintaining his job as a civil servant employed by the Dutch Post Office. This new monograph places the artist, one of the most important Dutch artists of the 20th century, in an international context, arguing for his role as an influential player in European art after the Second World War.

From his central position in the Netherlandish Informal Group, associated with Art Informel, to his later involvement with the Dutch Nul group, part of the international ZERO network, Schoonhoven participated in two of the most important currents of postwar European abstraction from his hometown of Delft. This volume features many hitherto unknown works and photographs and sheds new light on the work of the “master of white.”

Jan Schoonhoven

Elena Filipovic

Danh Vo

Carol Bove

Tino Sehgal

Texts by Elena Filipovic, Danh Vo, Carol Bove, and Tino Sehgal

Felix Gonzalez-Torres: Specific Objects Without Specific Form

 documents the groundbreaking retrospective curated by Elena Filipovic with the artists Danh Vo, Carol Bove, and Tino Sehgal that traveled to Wiels Contemporary Art Centre in Brussels, Fondation Beyeler in Basel, and MMK Museum für Moderne Kunst in Frankfurt in 2010 and 2011.

Organized by Wiels Contemporary Art Centre in collaboration with the 

, the exhibition offered visitors the possibility of finding a new interpretation of Gonzalez-Torres' work with each visit. Following the installation of a retrospective version of the exhibition at each institution by Elena Filipovic, an artist whose practice has been informed by Gonzalez-Torres’s work was invited to entirely re-install the show halfway through its duration. Danh Vo’s version was presented at Wiels, Carol Bove’s at the Fondation Beyeler, and Tino Sehgal’s at the Museum für Moderne Kunst. Through this structure, the exhibition evolved into several different forms—none being the definitive one.

The publication has been years in the making as Elena Filipovic and the Felix Gonzalez-Torres Foundation worked together to find the best ways to present the complexities and nuances of the exhibition. The book includes installation views of each version of the show and an illustrated checklist with images of the artworks in every instance of their installation. The structure of the publication allows the reader to see the immensely different ways the artworks can be installed, as well as how context acted on and through each piece during the cycle of exhibitions.

Amanda Cruz

Lewis Baltz

Roland Barthes

Carlos Basualdo

Bertold Brecht

David Deitcher

Marguerite Duras

Russell Ferguson

Rainer Fuchs

Felix Gonzalez-Torres

bell hooks

Miwon Kwon

Charles Merewether

Gerardo Mosquera

Bob Nickas

Virgilio Piñera

Rainer Maria Rilke

Tim Rollins

Susan Sontag

Nancy Spector

Wallace Stevens

Susan Tallman

Anne Umland

Simon Watney

Edited by Julie Ault. Texts by Amanda Cruz, Lewis Baltz, Roland Barthes, Carlos Basualdo, Bertolt Brecht, David Deitcher, Marguerite Duras, Russell Ferguson, Rainer Fuchs, Felix Gonzalez-Torres, bell hooks, Miwon Kwon, Charles Merewether, Gerardo Mosquera, Bob Nickas, Virgilio Piñera, Rainer Maria Rilke, Tim Rollins, Susan Sontag, Nancy Spector, Wallace Stevens, Robert Storr, Susan Tallman, Anne Umland, and Simon Watney. Chronology by Julie Ault

Felix Gonzalez-Torres, one of the most influential artists of his generation, lived and worked resolutely according to his own democratic ideology, determined to “make this a better place for everyone.” Combining principles of conceptual art, minimalism, political activism, and poetic beauty, Gonzalez-Torres’s ever-changing arsenal included public billboards, give-away piles of candy or posters, and ordinary objects (clocks, mirrors, light fixtures) often used to startling effect. His work challenged the notions of public and private space, originality, authorship, and—most significantly—the authoritative structure in which he functioned.

Now in its second edition, Gonzalez-Torres’s editor Julie Ault has amassed a comprehensive monograph of this important artist. In the spirit of the artist’s method, Ault rethinks the very idea of what a monograph should be. The book, which places strong emphasis on the written word, contains texts by Robert Storr and Miwon Kwon among other notables, as well as significant critical essays, exhibition statements, transcripts from lectures, personal correspondence, and writings that influenced Gonzalez-Torres and his work. Ample visual documentation adds another decisive layer of content. We see works not just in their finality, but often witness their transformation over a lifespan. This collection is a critical reference for the history of contemporary art.

With hundreds of pages of new and previously unpublished essays, notes, and letters, 

 is the most comprehensive collection of the artist’s writings assembled to date.

This timely publication includes Judd’s best-known essays, as well as little-known texts previously published in limited editions. Moreover, this new collection also includes unpublished college essays and hundreds of never-before-seen notes, a critical but unknown part of Judd’s writing practice.

Judd’s earliest published writing, consisting largely of art reviews for hire, defined the terms of art criticism in the 1960s, but his essays as an undergraduate at Columbia University in New York, published here for the first time, contain the seeds of his later writing, and allow readers to trace the development of his critical style. The writings that followed Judd’s early reviews are no less significant art-historically, but have been relegated to smaller publications and have remained largely unavailable until now. The largest addition of newly available material is Judd’s unpublished notes—transcribed from his handwritten accounts of and reactions to subjects ranging from the politics of his time, to the literary texts he admired most. In these intimate reflections we see Judd’s thinking at his least mediated—a mind continuing to grapple with questions of its moment, thinking them through, changing positions, and demonstrating the intensity of thought that continues to make Judd such a formidable presence in contemporary visual art.

Edited by the artist’s son, Judd Foundation curator and co-president Flavin Judd, and Judd Foundation archivist Caitlin Murray, this volume finally provides readers with the full extent of Donald Judd’s influence on contemporary art, art history, and art criticism.

Donald Judd Writings

Claudia Jolles

Ellie Meyer

Texts by Claudia Jolles, Flavin Judd, and Ellie Meyer

The work of Donald Judd, one of the most significant American artists of the postwar period, has come to define Minimalist art, a label to which the artist strongly objected. The unaffected, straightforward quality of Judd’s work demonstrates his strong interest in color, form, material, and space. Wanting to create works that could assume a direct material and physical presence without recourse to grand philosophical statements, Judd eschewed classical ideals of representational sculpture and created works that relied on clear, definite objects.

 represents the first-ever focused examination of Judd’s works in Cor-ten steel, which he began to produce in earnest in 1989 and would continue to elaborate on until his death in 1994. Cor-ten is an alloy that makes steel more resistant to corrosion, and eliminates the need for paint. With its distinctive red-brown patina, Cor-ten afforded Judd a new medium for exploring the relationship between surface and volume, as well as color and form. Prior to 1989, Judd executed a handful of works in Cor-ten primarily as outdoor commissions or site-specific works. This volume is produced on the occasion of the 2015 exhibition at David Zwirner, New York. Designed in close collaboration with Flavin Judd and Judd Foundation, 

 sheds new light on a body of work that represents the culmination of three decades of aesthetic output and underscores the mastery and control over material and space that characterizes Judd’s practice as a whole.

Donald Judd: Cor-ten

Robin Clark

A key member of the Light and Space movement in Los Angeles during the 1960s and 1970s, De Wain Valentine is distinguished in particular by his in-depth understanding of synthetic materials and his ability to transform industrial products into artworks that investigate the seductive power of light, transparency, reflection, and surface. Published in conjunction with his critically lauded 2015 exhibition at David Zwirner, New York, 

De Wain Valentine: Works from the 1960s and 1970s

 focuses on the artist’s pioneering achievements in polyester resin. A new scholarly text by Robin Clark on Valentine’s production from this period details his personal history and his innovations with this material. Influenced by the vast California landscape, he was initially confronted with material limitations: at the time, polyester resins could not be poured in volumes exceeding fifty pounds. Not willing to accept this restriction, Valentine partnered with Hastings Plastics in 1966 to create an entirely new resin that could be cast in larger quantities. The resulting material, known as Valentine MasKast Resin, allowed the artist to dramatically increase the scale of his work. With its inherent ability to contain and reflect light, while maintaining a powerful luminous dimension, polyester resin would form the foundation of Valentine’s practice.

 includes rich color plates of Valentine’s “Columns,” corporeally scaled sculptures cast in colored polyester resins that recede from a wider base up to a narrow tip; his “Circles,” 6-foot discs that display not only the artist’s mastery of geometrical form, but also highlight his command of color in sculpture; and a selection of the artist’s smaller forms—rings, discs, and double pyramids. The catalogue also features extensive documentation of 

 (1975–1976), two massive, identical columns that each stand twelve feet tall. Originally executed for Baxter Travenol Laboratories’ newly built corporate headquarters in Deerfield, Illinois, Valentine had conceived of two immense vertical columns standing side by side, but because of architectural modifications (the ceiling in the company’s reception area was lowered at a late stage of construction), Valentine was forced to install the two slabs on their sides. Forty years after its initial conception, the exhibition at David Zwirner represented the first time this work was presented in its intended configuration.

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

Texts by Francis Alÿs and Catherine Lampert

Francis Alÿs is known for his discreet performative solo actions as well as for coordinating large-scale collective allegorical events. Many of these performances—both ones in which the artist features as a protagonist and the mass actions in which Alÿs himself stays on the sidelines—are now revered as classics of the genre. Characteristic of his approach, whose site-specific projects broach specific local and political situations through dialogue with people rather than by addressing them directly, is the process of negotiation and interaction.

, 1995–) exemplifies the subtlety and inscrutable quality of his oeuvre at large. The small pictures on wood panels measuring approximately 4.3 by 5.9 inches depict miniature scenes and often look like snapshots of simple gestures and activities that, upon closer inspection, appear to be fairly absurd.

It is a series of 111 such paintings the artist created over the past two decades but regards as incomplete. Rather than add new pictures to the ensemble, Alÿs reworks, alters, augments the existing panels, sometimes even overpainting them completely. Some have gone untouched for years, while others are subject to frequent revision. Around one quarter of the series has been repainted since it was last presented; no fewer than sixteen pictures were altered in 2016 alone, as date stamps indicate. The various stages in the work’s ongoing transformation—it may be said to evolve alongside the artist himself—survive only in photographic documentation, illustrating the constancy of Alÿs’s art and the foundation on which it rests, but also his changing interests and priorities.

The pictures are demanding in every respect: with their small formats, they disclose nothing to the fleeting glance—they demand sustained attention. Most of the compositions originated in the notebooks of the artists, whose painterly oeuvre has grown in parallel with his actions and major collaborative projects since the beginning of his career. Its defining feature are recurrent or similar figures that appear time and again, like the characters in a novel. Certain conspicuous protagonists clad in suits and known from other painting series as “the Liar,” “the Prophet,” “the Clown,” and the like were first sketched in 

 and then elaborated elsewhere, or conversely migrated from other creations into the series. Mirroring and inversion are frequent stylistic devices in Alÿs’s work, both in his writings and in his pictures. Le temps du sommeil thus blends the functions of an archive, a creative repertoire, and a medium for brainstorming.

Another salient aspect of his art is the interweaving of word and image, often through the titles of the works. The visitor should not be misled by the fact that the pictures in the series are presented alongside conceptual writings and ideas for interventions and works. The texts are not intended as annotations to the images; they enter into a dialogue with them, shining a light, always tinged with humor, on the complex interrelationship between visual and verbal communication.

Francis Alÿs: Le temps du sommeil

Dan Flavin, New York, 1970.  Photo by Gianfranco Gorgoni. © Maya Gorgoni

Michael Auping

Alexandra Whitney

Texts by Michael Auping and Alexandra Whitney

Showcasing Dan Flavin’s “corner,” “barrier,” and “corridor” works, this catalogue explores the artist’s core sculptural vocabulary and how his use of fluorescent light forged a new relationship between the art object and its surrounding architecture.

This publication examines how Flavin’s light works, which he described as “situations,” function in space, occupying key positions that highlight how the rooms themselves are constructed. The exhibition is not only historically significant, as it mines early explorations in Flavin’s practice, but many of the works are reproduced for the first time in plates that accurately capture their colors. Published on the occasion of the 2015 eponymous exhibition at David Zwirner, New York, 

takes as its point of departure the artist’s influential show, 

corners, barriers and corridors in fluorescent light from Dan Flavin

, presented at the Saint Louis Art Museum in 1973.

Above all, the photography reveals the unexpected and powerful interplay between the light of neighboring pieces and the space—the way the walls, floor, and various hues mingle to form unpredicted palettes that reveal what Michael Auping, following Donald Judd, calls the “exoskeleton.” These works, with their immediate relationship to architecture, not only function as color experiments but as structural explorations in light, and in his essay, Auping explores how Flavin’s investigations of corners, barriers, and corridors became an essential part of the way the artist understood space. This publication also features rarely seen photographs of Flavin installing his historic 1973 exhibition, as well as detailed notes by Alexandra Whitney about the works included in the St. Louis presentation. Designed by McCall Associates, in close collaboration with the Estate of Dan Flavin, this catalogue presents an especially significant body of work in a completely new way and offers a vital historical perspective on Flavin’s practice.

Dan Flavin: Corners, Barriers and Corridors

Paul Morris

This special edition with an artist-signed bookplate is available in a limited run of 400 copies.

One of America’s most celebrated cartoonists, Robert 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, have made Crumb into a global voice and a renowned contemporary artist.

Originally published by Kitchen Sink Press in 1996, 

 is at once a satirical take on aesthetics and a continued exploration of Crumb’s subversion of sexuality and mainstream values. Drawings of women in positions ranging from lascivious to modest or mid-sport are accompanied by quotations, many of which are from artists like Leonardo da Vinci and Harvey Kurtzman. Mining his own obsessions and fantasies, Crumb reimagines the history of art, challenging notions of beauty, along with society’s mores and expectations of propriety around the female form. The second volume of 

, published in 2003, expanded on the first, adding all new drawings (also of women) and quotations, likewise taken from the history of art and aesthetics. The effect of both volumes is undeniably destabilizing. The images appeal to a purely erotic sensibility, which in turn is undercut by the inclusion of highfalutin and frequently philosophical prose. The images drag philosophy back down to earth, while the writing challenges the pure eroticism of Crumb’s drawings.

 is released for the first time as part of 

Art & Beauty Magazine: Drawings by R. Crumb. 

It is published on the occasion of Crumb's exhibition at David Zwirner, London, which debuts the new work he created for the magazine’s third issue. Presenting all three volumes in one book, 

 is arranged chronologically and guides the reader through the twenty-year history of Crumb’s magazine, from the earliest images in the 1990s to the most recent drawings completed in 2016. Paul Morris, longtime gallerist and supporter of Crumb’s practice, writes an introduction that contextualizes this body of work and the artist’s career as a whole. This beautiful edition, with a cover specially designed by Crumb for its release, makes the initial two issues available for the first time in over ten years, and presents the new and previously unpublished material from the third. For seasoned supporters and novices alike, 

Art & Beauty Magazine: Drawings by R. Crumb

 is a wonderful window into Crumb’s world of bodies and ideas, art and beauty.

Art & Beauty Magazine: Drawings by R. Crumb (Limited Edition)

Text by Anette Gehrig. Contributions by Michael Freund, Sébastien Gokalp, Paul Morris, and Joost Swarte

The USA’s Aline Kominsky-Crumb (b. 1948) and Robert Crumb (b. 1943) are an odd couple—in life, as well as in art. He is a celebrated underground artist and she is a pioneer of the autobiographical comic. Since 1972, they have been collaboratively writing and drawing the autobiographical relationship-and-family comic strip 

, in which the societal upheavals of the 1970s, the differences between man and woman, and a handful of substantial neuroses play leading roles: a side-splitting drama, unique in the world of comics, with a wealth of punch lines. The publication 

Aline Kominsky-Crumb & Robert Crumb. Drawn Together

 coincides with the exhibition of the same name and contains selected episodes from 

, including the stories that have never been published in Europe before, supplemented with solo works by Aline Kominsky-Crumb and Robert Crumb, as well as photographs and articles on the life and works of these artists.

Aline Kominsky-Crumb & Robert Crumb: Drawn Together

Text by Bob Nickas, Katy Siegel, Heidi Zuckerman

German artist Tomma Abts (born 1967) creates her paintings and drawings using a rigorous process that combines the rational with the intuitive. Starting with no external source material and no preconceived idea of the final result, Abts makes complex abstract compositions that ultimately take as their subject the process of their own creation. This publication accompanies her exhibition at the Aspen Art Museum, which is the first to survey the artist's extensive drawing practice. It features 41 works from 1996 to the present—many never before exhibited—and includes new works created specifically for the exhibition. The catalogue also features essays by Bob Nickas, Katy Siegel and Heidi Zuckerman.

Tomma Abts: Mainly Drawings

Limning a dizzying array of topics with his distinctive combinations of image and text, Raymond Pettibon has created a vocabulary of characters and symbols that reappear consistently if enigmatically across his oeuvre, ranging from baseball players, atomic bombs, and railway trains to the cartoon Gumby. But the most poetic and revealing of Pettibon’s symbols may be the surfer, the solitary longboarder challenging a massive wave. In his surfer works, viewers ride along with a counterculture existentialist hero who perhaps is the artist’s nearest proxy.

This revised and expanded edition of 

, the first printing of which sold out almost immediately upon publication in 2014, features twenty additional works, as well as new color separations and jacket design. Nearly all the works included in this volume depict an ocean roiling with chaotic swells, accompanied by non sequiturs, quotations, and fragments of poetry in the artist’s handwriting. Organized chronologically, the publication traces Pettibon’s prolific output of his surfer series, from early small-scale monochrome India ink drawings to numerous examples from the 1990s when the artist introduced color, culminating with his recent large-scale works, some of which were executed directly on a wall. Rounding out the publication is a poetic meditation by the writer Carlo McCormick, which captures the essence of Pettibon’s surfing works: “Riddled with enigma, Raymond Pettibon’s art speaks little about himself the artist, preferring rather to address more central questions on the nature of self, but he tells us this, ‘Some things (sea foam, for instance) cannot be drawn at all, but only surfed,’ or again, ‘All this must be either surfed or painted.’"

Cover of a book titled Raymond Pettibon: Surfers 1985-2015, published by David Zwirner Books in 2015

Interior spread from a book titled Raymond Pettibon: Surfers 1985-2015, published by David Zwirner Books in 2015

Raymond Pettibon: Surfers 1985-2015

Kai Hong

Kate YK Lim

Park Kyung-mee

Richard Vine

Introduction by Park Kyung-mee. Texts by Kai Hong, Kate Lim, and Richard Vine

This monograph serves as a comprehensive survey of Yun Hyong-keun's oeuvre covering forty years from his earliest surviving efforts through his very last works. This overview is accompanied by insightful critical essays by Kai Hong, Kate Lim, and richard Vine that offer diverse contemporary perspectives on the style, themes, and historical context of this remarkable artist.

Korea's Dansaekhwa movement which formed one of the most complex efforts at artistic expression in the 1970s has at long last started to attract international interest and a serious appraisal by experts outside of Asian art. Yun was a central figure in the Dansaekhwa movement who also firmly established his own artistic integrity by drawing on traditional Korean art and themes as the root for his conceptual approach and aesthetic sensibility.

Selected Works 1972–2007

Yun Hyong-keun

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Midori Yamamura

Yayoi Kusama is the most famous artist to emerge from Japan in the period following World War II. Part of a burgeoning international art scene in the early 1960s, she exhibited in New York with Andy Warhol, Donald Judd, Claes Oldenburg, and other Pop and Minimalist luminaries, and in Europe with the Dutch Nul and the German Zero artist groups. Known for repetitive patterns, sewn soft sculptures, naked performance, and suggestive content, Kusama’s work anticipated the politically charged feminist art of the 1970s. But Kusama and her work were soon eclipsed by a dealer-controlled art market monopoly of white male American artists. Returning to Japan in 1973, Kusama became almost as famous for her self-proclaimed mental illness and permanent residence in a psychiatric hospital as she was for her art. In this book, Midori Yamamura eschews the usual critical fascination with Kusama’s biography to consider the artist in her social and cultural milieu. By examining Kusama’s art alongside that of her peers, Yamamura offers a new perspective on Kusama’s career.

Yamamura shows that Kusama, who came of age in totalitarian wartime Japan, embraced art as an anti-conformist pursuit, seeking a subjective autonomy that resulted in the singular expression of her art. Examining Kusama’s association with European and New York art movements of the 1960s and her creation of psychedelic light-and-sound “Happenings,” Yamamura argues that Kusama and her heterogeneous peers defied and undermined various pillars of modernity during the crucial transition from the modern nation-state to global free-market capitalism.

The art market rediscovered Kusama in the 1990s, and she has since had a series of high-profile exhibitions. Recounting Kusama’s story, Yamamura offers an incisive, penetrating analysis of postwar art’s globalization as viewed from the periphery.

Yayoi Kusama: Inventing the Singular

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

Wolfgang Tillmans

 compiles a new body of work by renowned photographer Wolfgang Tillmans (born 1968). Since the early 90s, Tillmans has redefined the genre of photography, epitomizing a new kind of subjectivity and questioning existing values and hierarchies. 

 is no exception; images of cars in a typical street view—not in a crash, or an extreme traffic jam, but simply present—pay tribute to the amount of time we spend around, or looking at, or using the vehicle.

"Cars are everywhere," the photographer says. "Their sheer number is the most crazy thing about them. They appear in our lives with excessive omnipresence. In their volume cars intrude upon public space, and the way they occupy streets and open areas is rarely challenged." This unusual artist's book takes up a subject rarely deemed worthy of representation. "Virtually wherever there are people, there are cars and they are visually intermingling in whatever we see," Tillmans points out. "We are looking at the world from a car and cars are in the foreground, the background or in between of what is in our view."

With over 100 color photographs and text by the artist himself, this new volume is an important addition to any photobook collection, and to our understanding of what it is to live in a world oversaturated with both cars and images.

Wolfgang Tillmans: The Cars

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David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.