is a limited edition zine published on the occasion of the artist's exhibition at the New York Art Book Fair 2015. Printed digital offset in an edition of 250 numbered copies, this publication was composed by Dzama and includes a selection of recent collages and etchings, as well as film stills from 

Une danse des bouffons (or A jester's dance)

Marcel Dzama: Death Disco Issue 1

Luc Tuymans in his studio, 2022. Photo by Otman Q

Colin Chinnery

Will Self

This book brings together the most recent work by Luc Tuymans. It will be shown in the Talbot Rice Gallery in Edinburgh in the autumn of 2015. 

 shows Tuymans’s fascination with the Scottish Enlightenment and its thinkers, who believed in the ability of humans to shape their future rationally and whose influence extended as far as the United States. Stimulated by a visit to the art collection of the University of Edinburgh, Tuymans did three small portraits of Scottish philosophers, originally painted by the eighteenth-century portrait artist Henry Raeburn. The theme of the Enlightenment is combined with menacing horror: in a monumental dark work, 

, or in the portrait of the murderer and cannibal Issei Sagawa. The British writer Will Self wrote a remarkable short story for 

, and the art critic Colin Chinnery has contributed an explanatory essay.

Luc Tuymans: Birds of a Feather

A painting by Lisa Yuskavage titled Night Classes at the Department of Painting Drawing and Sculpture, dated 2018-2020

Lisa Yuskavage, 2020. Photo by Jason Schmidt

Christopher Bedford

Suzanne Hudson

Catherine Lord

Siddhartha Mukherjee

Katy Siegel

Texts by Christopher Bedford, Suzanne Hudson, Catherine Lord, Siddhartha Mukherjee, and Katy Siegel

Accompanying a major exhibition, this stunning survey and important monograph highlights more than two decades worth of Lisa Yuskavage’s brilliant and controversial paintings. Internationally acclaimed American painter Lisa Yuskavage is known for her seductive yet unsettling work, in which cartoony, vulgar, angelic, young nymphs are cast within fantastical landscapes or theatrical interiors. In this dazzling monograph she presents the confrontational imagery, luscious paint, and technical virtuosity that are her signature, blurring the boundaries between high art's classic female nudes and their popular culture counterparts.

This comprehensive new volume offers a rich overview of the artist’s work with interpretive essays by leading art historians and an interview with the artist. This will be the definitive book on this important artist.

Paintings 1991–2015

Lisa Yuskavage: The Brood

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

Robert Storr

Angela Choon

Text by Robert Storr. Interview with the artist by Angela Choon

With a career spanning almost three decades, Kerry James Marshall is well known for his complex and multilayered portrayals of youths, interiors, nudes, housing estate gardens, land- and seascapes, all of which synthesize different traditions and genres while seeking to counter stereotypical representations of black people in society. Working across various mediums, from paintings and comic-style drawings to sculptural installations, photographs, and videos, the artist conflates actual and imagined events from African-American history, integrating a range of stylistic influences to address the limited historiography of black art.

Produced on the occasion of Marshall’s first exhibition at David Zwirner in London in 2014 and designed by JNL Design in Chicago, 

 features beautiful reproductions of every painting on view in the show as well as numerous details, preparatory drawings, installation photographs, new scholarship by Robert Storr and a conversation between the artist and Angela Choon, a Senior Partner at the gallery. As suggested by the show’s title, these portraits use the etymological differences between looking and seeing as their point of departure, featuring subjects whose dissociated stares seem as defiant as they are mystifying. In keeping with his signature approach, Marshall has painted his figures in strikingly opaque black pigments, both fashioning and abstracting their presences in order to assimilate the limitations and contradictions of style, subject, and chronology inherent in art-historical narratives written from a white, Western perspective. Taken all together, the range of materials included in 

 constitutes a vibrant and comprehensive portrait of Marshall’s original and ever-evolving practice.

Kerry James Marshall: Look See

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

Andreas Laszlo Konrath

Jordan Wolfson

Gaea Woods

Text by Jordan Wolfson. Photographs by Andreas Laszlo Konrath and Gaea Woods

Over the past decade, Jordan Wolfson has become known for his thought-provoking works in a wide range of media, including video, sculpture, installation, photography, and performance. He pulls intuitively from the world of advertising, the Internet, and the technology industries to produce ambitious and enigmatic narratives. However, instead of simply appropriating found material, the artist creates his own unique content, which frequently revolves around a series of invented, animated characters.

This artist’s book is the product of close collaboration between Wolfson and the book designer Joseph Logan. Initially conceived to document the artist’s 2014 exhibition at David Zwirner in New York—his first with the gallery, debuting new sculptural work, a critically acclaimed video, and a much-discussed animatronic sculpture—the publication ultimately exists as a hybrid between an exhibition catalogue and a stand-alone expression of Wolfson’s vision. Featuring a dynamic layout and large color plates, the book is anchored by extensive photo documentation of Wolfson’s bewitching 

, which combines elements of installation and performance in the figure of a curvaceous, scantily clad woman covered in dirt marks and wearing a witch mask. Presented are photographs by Andreas Laszlo Konrath, who documented many aspects of the exhibition, including behind-the-scenes images of its installation. Also included are reproductions of Wolfson’s new series of wall-mounted sculptures comprised of bumper stickers overlaid on inkjet prints, candid photographs of the artist taken by Gaea Woods, and a text by the artist providing context for the visual material.

Jordan Wolfson: California

Antoon Melissen

In the work of Dutch artist Jan Schoonhoven, wrote 

 art critic Roberta Smith in 1999, “clarity and purity reign.” Born in Delft in 1914 and regarded as one of the most important Dutch artists of the twentieth century despite being relatively unknown in the United States, Schoonhoven was an active and influential player in the course of major European postwar developments in art, particularly related to monochromatic, serialized abstraction. His early abstract drawings, influenced by the work of Paul Klee, evolved into spare, delicate, and often grid-based sculptural wall reliefs. In the 1960s, Schoonhoven co-founded the avant-garde Nul-groep (Nul Group), a Dutch branch of the international ZERO movement that sought to reduce art to the zero degree by simplifying compositions and using everyday materials.

This catalogue was published in conjunction with the first significant presentation of Schoonhoven’s work in New York, if not the United States, in over a decade, held at David Zwirner in New York in 2015. Serving as an important contribution to English-language literature on the artist, this extensive exhibition catalogue is anchored by richly detailed plates of his sculptural reliefs and works on paper made primarily between the mid-1950s and early 1970s. During that period, Schoonhoven focused on the production of white, monochrome reliefs and black ink drawings, in which the integration of meticulous control and automatic gesture exemplify the artist’s ability to balance rigorous order with the expressiveness of the hand.

Featuring new scholarship by Antoon Melissen, one of the foremost authorities on Schoonhoven’s work, as well as archival photographs and an illustrated chronology, this publication offers an invaluable introduction to the work of this pioneering champion of the proto-Minimalist tendencies that sprang up in Europe and the United States in the early 1960s.

Jan Schoonhoven

Yve-Alain Bois

Benjamin H. D. Buchloh

Diedrich Diederichsen

Hal Foster

Isa Genzken

Isabelle Graw

Lisa Lee

Pamela Lee

Birgit Pelzer

Juliane Rebentisch

Josef Strau

Wolfgang Tillmans

Lawrence Weiner

Texts by Yve-Alain Bois, Benjamin H. D. Buchloh, Diedrich Diederichsen, Hal Foster, Isa Genzken, Isabelle Graw, Lisa Lee, Pamela M. Lee, Birgit Pelzer, Juliane Rebentisch, Josef Strau, Wolfgang Tillmans, and Lawrence Weiner

Since the late 1970s, the Berlin-based contemporary artist Isa Genzken (b. 1948) has produced a body of work that is remarkable for its formal and material inventiveness. In her sculptural practice, Genzken has developed an expanded material repertoire that includes plaster, concrete, epoxy resin, and mass-produced objects that range from action figures to discarded pizza boxes. Her heterogeneous assemblages, a 

 critic observes, are “brash, improvisational, full of searing color and attitude.” Genzken, the recent subject of a major retrospective at MoMA, offers a highly original interpretation of modernist, avant-garde, and postminimalist practices even as she engages pressing sociopolitics and economic issues of the present.

These illustrated essays address the full span of Genzken’s work, from the elegant floor sculptures with which she began her career to the assemblages, bursting with color and bristling with bric-a-brac, that she has produced since the beginning of the millennium. The texts, by writers including Yve-Alain Bois, Benjamin H. D. Buchloh, and the artist herself, consider her formation in the West German milieu; her critique of conventions of architecture, reconstruction, and memorialization; her sympathy with mass culture; and her ongoing interrogation of public and private spheres. Two texts appear in English for the first time, including a quasi-autobiographical screenplay written by Genzken in 1993.

The first major catalogue published in English on the work of Korean group Dansaekhwa, who variously experimented with pushing paint, soaking canvases, dragging pencils, ripping paper, and other material manipulations. The exhibition was held at Blum & Poe, Los Angeles in 2014 and included artists Chung Sang-hwa, Ha Chonghyun, Kwon Young-woo, Lee Ufan, Park Seobo, and Yun Hyong-keun. The catalogue features an essay by Joan Kee, translations of key articles about the group, and beautiful new illustrations.

From All Sides: Tansaekhwa On Abstraction

Diana Thater in Chernobyl. Photo by Volodymyr Palylyk, 2010

Giuliana Bruno

Michael Govan

Christine Y. Kim

Lisa Gabrielle Mark

Patti Podesta

Jason E. Smith

Texts by Giuliana Bruno, Lynne Cooke, Michael Govan, Christine Y. Kim, Lisa Gabrielle Mark, Patti Podesta, and Jason E. Smith

This book offers a mid-career retrospective of the work of Diana Thater, one of the most important and innovative artists working today.

For more than two decades, Diana Thater has been creating ground-breaking installations that build upon the basic visual language of film and video by integrating architecture, applied color, and artificial and natural light. Depicting a range of natural phenomena, her work is largely organized around an exploration of the subjectivity of animals. This lavishly illustrated overview shows how Thater has radically reenvisioned both the ways in which film and video are deployed in site-related installations and the relationship between subject and object. Luminous images of eighteen projects such as 

 are accompanied by quotes and fictional writings that have long served as Thater’s touchstones. Also included are an interview with the artist and essays on a wide range of topics that Thater addresses in her work—from the history and politics of the Chernobyl disaster to beauty and Baroque architecture. This publication also gives readers exclusive access to a moving image supplement, featuring a film conceived and created by Thater in collaboration with production designer Patti Podesta, as well as an illustrated checklist with short video clips.

Diana Thater: The Sympathetic Imagination

Mark Godfrey

Roxana Marcoci

Text by Mark Godfrey, Roxana Marcoci, Christopher Williams, and Matthew S. Witkovsky

Representing Christopher Williams’s first publication with a major American museum, this illuminating and unusual volume is equal parts artist’s book and exhibition catalogue. Over the course of his thirty-year career, Williams (b. 1956) has crafted photographs that engage—often through uncanny mimicry—the conventions of photojournalism, picture archives, and commercial imagery, as well as their sociopolitical contexts and implications. The book includes a trio of essays by curators Mark Godfrey, Roxana Marcoci, and Matthew S. Witkovsky, which explore Williams’s engagement with his artistic peers and predecessors, with cinema (particularly the film-essay), and with the methods and modes of display and publicity in the art world, in addition to a transcript of a talk Williams delivered on the work of John Chamberlain. These more conventional contributions are “interrupted” by additional historical and contemporary textual and visual materials that were selected by the artist himself and are occasionally presented in facsimile form. An exhibition history, bibliography, and illustrated list of works round out the publication.

Christopher Williams: The Production Line of Happiness

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

Katherine Brinson

Massimiliano Gioni

Karen Marta

Edited by Karen Marta and Massimiliano Gioni. Text by Katherine Brinson.

Since the mid-1990s, Chris Ofili's painstakingly crafted paintings and sculptures have dazzled—and often distressed—viewers with a fusion of opposing forces: sacred meets profane, formal bows to demotic, and exalted bleeds into vulgar. Paintings of rare beauty are propped on elephant dung; deities squat to defecate; and lovers embrace and yet are forcibly bound.

 series is authored by Katherine Brinson, Curator of Contemporary Art at the Solomon R. Guggenheim Museum in New York, where she curated the museum's 2013 Christopher Wool retrospective and also organizes the Hugo Boss Prize, a biennial award honoring significant achievement in contemporary art.

Chris Ofili: 2000 Words

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

Robert Kudielka

Natalia Naish

Alexandra Tommasini

Text by Natalia Naish and Alexandra Tommasini. Interview by Robert Kudielka

Tracking a transitional period of Bridget Riley’s career, the works on paper in this volume move from the vertical stripe to increasingly complex diagonal compositions. During the mid-1980s, Riley introduced a new pictorial device – the rhomboid – to the then predominantly vertical stripes, developing her exploration of interplaying tones of green, yellow and orange. Riley constructs new visual relationships between divergent colors and forms within these works, creating what the artist terms a ‘harmony of contrasts’ that animates the entire visual field. Illustrated in full color, the works are accompanied by a historic interview with the artist by Robert Kudielka and a text by Natalia Naish and Alexandra Tommasini, which situate these studies with major paintings during this period.

Bridget Riley: Studies 1984-95

Detail view of Alice Neel's 1967 painting titled Richard

Jeremy Lewison

Claire Messud

Texts by Jeremy Lewison and Claire Messud

Drawing was a fundamental, stand-alone component of Alice Neel’s practice, persistently pursued alongside painting, for which she is primarily known. As a medium, it enabled her to capture the immediacy of her visual experience—whether in front of her sitters or on the city streets—while also affording her a greater sense of experimentation and informality. Neel chose the subjects for both her paintings and drawings from her family, friends, and a broad variety of fellow New Yorkers: writers, poets, artists, students, textile salesmen, cabaret singers, and homeless bohemians. Through her penetrative, forthright, and at times humorous touch, her work subtly engaged with political and social issues, including gender, racial inequality, and labor struggles. Not initially intended for public view, her drawings reveal a more private and intimate nature than her paintings and as such reflect her deep sensitivity to these subjects. Yet they are far from sentimental and she readily stripped her sitters of their masks, foregrounding rather the incongruous, the awkward, and, at times, the comical.

Alice Neel: Drawings and Watercolors 1927-1978 

presents an illuminating overview of the variety of themes and styles employed by the artist across five decades. Published to coincide with an 

 at David Zwirner in New York, the book contains over sixty color plates organized thematically and includes works selected from throughout her career. In addition, it features essays by the independent curator and writer Jeremy Lewison and the award-winning novelist Claire Messud, as well as a selected chronological biography and illustrated list of works.

Although Neel’s influences and style changed from decade to decade, her profound commitment to her subjects and to her art remained consistent over the course of her career, and although the appearance of many of her sitters changed over the years, there is a timeless quality to the works. As Claire Messud notes in her reflections on the artist in the exhibition catalogue, “The complex emotions Neel evokes in her art are nothing less than the contradictions of life itself.”

Alice Neel: Drawings and Watercolors 1927-1978

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

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

Text by Jeffrey Weiss, Daniel Buren, Whitney Davis, Maria Gough, Ben Highmore, Tom McCarthy, Susan Stewart, and Anne Wheeler

Because of his recourse to language, photography, and systems of information, On Kawara is often described as a key figure in the history of Conceptual art. Yet his work stands apart in its devotion to painting and its existential reach. 

 is published in conjunction with a major 

 of Kawara’s post-1964 work at the Solomon R. Guggenheim Museum, New York. Like the exhibition itself, the structure of the book was devised in close collaboration with the late artist. The exhibition catalogue contains essays on Kawara’s work by leading scholars and critics in various fields, including art history, literary studies, and cultural anthropology. It also includes substantial, authoritative descriptions of every category of his production—the first time such comprehensive information has appeared in print. Richly illustrated,

) that comprised the artist’s practice beginning in the mid-1960s. Among other groups of works, the book includes images of the 97 

(accompanied by their newspaper-lined storage boxes) that Kawara produced during a three-month run of daily painting in 1970. The catalogue also contains reproductions of paintings and drawings produced in Paris and New York in the years that precede the works for which Kawara is best known, as well as rare images of materials related to his working process. The volume is published in four differently colored covers.

On Kawara—Silence

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

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

Martin Germann

, on view at Centro de Arte Contemporáneo de Málaga in 2015.

Michaël Borremans: Fixture

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

Between 2010 and 2014, Francis Alÿs traveled extensively to Afghanistan following his invitation to participate in dOCUMENTA(13). This publication is a compilation of the films, paintings, drawings, collages, postcards, notebooks, and other documents that make up his “Afghan Projects.” 

Like a storyboard or archive, their documentary yet narrative structure emerges like a travel journal with images and annotations. Including texts by Alÿs, dOCUMENTA(13) curator Carolyn Christov-Bakargiev, and several of the artist’s main collaborators, it offers rare insights into a country in transition, so often misrepresented in the media, as well as a nuanced debate about the relevance of contemporary art in the context of war. 

Alÿs’s engagement with Afghanistan has continued past the opening of dOCUMENTA(13)–in Spring 2013, he served as embedded war artist with UK’s Task Force Helmand, and the Afghan Projects continue to occupy an important part of his practice.

Francis Alÿs: REEL-UNREEL

Edited by Jeffrey Grove. Text by Michael Amy, Hans Christ, David Coggins, Martin Germann, Jeffrey Grove, Jan Hoet, Jeffrey Kastner, David Lynch, Charlotte Mullins et al.

Since the late 1990s, when he first began to produce drawings and paintings, Michaël Borremans has created an extraordinarily mature body of work that has captured international attention. The disparate spaces he imagines in his paintings, drawings, sculptures, and films are unified by an uncanny sense of dislocation and an often unsettling beauty. Rendered in complex palettes and exquisite techniques, Borremans’s works in all media embrace a rich legacy of artistic progenitors, but remain firmly anchored in the present. Presenting over 100 works created by the artist over a 14-year period in all media, this publication includes many works not previously reproduced in books or catalogues, offering the most complete overview of Borremans’s oeuvre to date. Contributions include a concise and incisive overview of Borremans’s practice; a revealing, in-depth interview between the main author of the book, Jeffrey Grove, and the artist, addressing process, influence and philosophical and critical issues; as well as more than 50 individual entries and mini-essays on individual works in the artist’s oeuvre by notable writers, curators, filmmakers, and musicians. Described by the artist as “the mother of all Borremans books,” 

 is published on the occasion of a major mid-career retrospective.

Michaël Borremans: As Sweet As it Gets

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

 brings together Kusama’s vivid imagery and haunting words with photos of the artist at work and at various stages in her life. The pieces are mostly from recent years (2000-2012), although there are some that go back as far as the 1950s. Here are Kusama’s large-scale canvases, environmental sculptures, multi-media installations, and numerous self-portraits. Here, too, are photos of the artist at ten years old, and as a young woman in Tokyo, and then New York, often wearing outrageous clothes of her own design. And we see Yayoi Kusama in recent years, working in her studio in Tokyo – minus the garish make-up and red wig. The book is a chronicle of her creative endeavors and of her life, offering a glimpse into the fevered imagination of this very complicated and fascinating woman.

Yayoi Kusama: Hi Konnichiwa

At the end of the 1950s William Eggleston began to photograph around his home in Memphis using black-and-white 35mm film. Fascinated by the photography of Henri Cartier-Bresson, Eggleston declared at the time: "I couldn't imagine doing anything more than making a perfect fake Cartier-Bresson. " Eventually Eggleston developed his own style which later shaped his seminal work in color—an original vision of the American everyday with its icons of banality: supermarkets, diners, service stations, automobiles, and ghostly figures lost in space. 

includes some exceptional as-yet-unpublished photographs, and displays the evolution, ruptures and above all the radicalness of Eggleston's work when he began photographing in color at the end of the 1960s. Here we discover similar obsessions and recurrent themes as present in his early black-and-white work including ceilings, food, and scenes of waiting, as well as Eggleston\s unconventional croppings-all definitive traits of the photographer who famously proclaimed, "I am at war with the obvious."

William Eggleston: From Black and White to Color

Best known for his oversized, dead-pan portraits, his unmediated shots of commonplace interiors, and his seemingly straightforward photographs of architecture, Thomas Ruff has quietly approached many familiar genres, and proceeded to discreetly reinvent them. For his 

 series, Ruff found images in newspapers, and then re-photographed and enlarged them to isolate the photographs from the text, allowing Ruff’s viewer, now no longer a reader, to make assumptions about the photograph without any information to support the viewer’s inferences. The book consists of 400 reproductions from German newspapers that Ruff collected over the span of 10 years (1981–1991).

Thomas Ruff: Zeitungsfotos / Newspaper Photographs

Ruff has always had a fascination with astronomy. His attempt at photographing night sky failed due to the lack of detail captured in the pictures he had taken. Ruff’s equipment could not render the detail he wanted as well as air and light pollution added to the difficulties of capturing the beautiful constellations. His solution was to take observation shots from the European Southern Observatory (ESO) based in the Andes in Chile.

Thomas Ruff: Sterne

Philippe Van Cauteren

Robert Fleck

Gregor Jansen

Valeria Liebermann

Texts by Philippe Van Cauteren, Robert Fleck, Gregor Jansen, Martin Germann, and Valeria Liebermann

Coinciding with museum exhibitions by Thomas Ruff at S.M.A.K in Ghent and Kunsthalle Düsseldorf in Düsseldorf, this book comprises five series of photographs ranging from the start of Ruffs’s artistic career in the late 1970s to recent work in 2014. This selection, being shown under the title 

, takes as its philosophical and scientific thread the spectrum between natural and virtual light – a fundamental shift that has taken place in the medium of photography over the last thirty years.

 (1992-1996), as well as parts of Ruffs’s most recent series called 

 (2012-2014) – a digitally generated simulation of this historical genre. In each of the series, Ruff subjects the photographic medium to systematic analysis: social, political, and aesthetic aspects of image production are laid bare, and thereby the history of Modernity as it was initiated by the emergence of photography in the 19th century. As a conceptual photographer, Ruff is not so much interested in photographing reality; he focuses more on portraying the realities of photography.

Thomas Ruff: Lichten

Robert Bean

Edward Burtynsky

Jane E. Nokes

Dieter Roelstraete

Introduction by Edward Burtynsky and Jane E. Nokes. Texts by Robert Bean and Dieter Roelstraete

 is the third annual publication celebrating the winner of the 

, Canada’s largest contemporary photography award for an established Canadian artist.

During the celebrated career of this year’s award winner Stan Douglas (starting in 1983), photography has played a vital role in his artistic development. This publication highlights the significance of the photographic image in the critical and historical reception of Stan Douglas’s approach to art and media. The stories, sites, and events that Douglas explores are populist, literate and timely. Frequently, his photographs describe the overlooked histories of cultural identity, displacement, and injustice that reveal an uncanny resemblance to present-day events. This is achieved through an insightful attention to photography as both medium and subject. Folding the spectator into the visual culture of memory and oblivion that photographs evoke initiates profound observations about the ubiquity of photography in contemporary culture. The photographs of Stan Douglas affirm the validity and volatility of the photographic medium at this decisive moment in the history of art and photography.

Stan Douglas: Scotiabank Photography Award

Lucas Zwirner

Kim Gordon

Text by Lucas Zwirner. Interview with the artist by Kim Gordon. Photographs by Andreas Laszlo Konrath

In the summer of 2013, Raymond Pettibon took over one of David Zwirner’s gallery spaces in New York, transforming the high-ceilinged, garage-like white cube into his studio in order to prepare a show of drawings and collages within—and sometimes directly on—its walls. Titled 

, evoking the Middle English expression that has come to express a certain formality today and is defined as “namely,” or “that is to say,” the exhibition gave new meaning to the term “site specific,” featuring vibrant, gestural works Pettibon created in conversation with his surroundings that operated as a sort of archive, both product and record of his relationship to that space and time. Unified by their bold, vivid lines and unconventional framing, they feature allusions to a wide spectrum of American “high” and “low” culture, from violence, humor, and sex to literature, youth, art history, and sports—embodying the artist’s signature mix of social and political commentary, diary entry, and automatic drawing.

This publication, presenting large color plates of the works created over that summer by Pettibon, who also produced an original drawing for its sturdy cardboard cover, explores the intricate relationship between image and language that has long fascinated the artist. Just as the works in the exhibition existed at once as art and document, so too does the book itself have the hefty, physical presence of a work of art. Extensive installation views capture the dynamic combination of visual imagery and text that has come to characterize Pettibon’s practice, and a selection of gritty black-and-white photographs by Andreas Laszlo Konrath offers an intimate glimpse into the artist’s working process. Context is provided by Lucas Zwirner, who accompanied the artist throughout this period and contributed the book’s essay, “A Month with Raymond.” As Zwirner describes it, the show functioned “as an essayistic whole held together by imaginative leaps and subtle connections which Raymond has left unexplained and uninterpreted.” That perspective is rounded out in an interview with the artist by Kim Gordon, a visual artist and musician, who first encountered Pettibon’s work in the early 1980s in Los Angeles.

Raymond Pettibon: To Wit

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