Sigmar Polke, Magnetische Landschaft (Magnetic Landscape), 1982

Benjamin H. D. Buchloh

Paul Chan

Christophe Cherix

Tacita Dean

Barbara Engelbach

Mark Godfrey

Stefan Gronert

Kathy Halbreich

Rachel Jans

Erhard Klein

Jutta Koether

Christine Mehring

Matthias Mühling

Marcelle Polednik

Christian Rattemeyer

Kathrin Rottmann

Magnus Schaefer

Lanka Tatersall

Texts by Paul Chan, Christophe Cherix, Tacita Dean, Barbara Engelbach, Mark Godfrey, Stefan Gronert, Kathy Halbreich, Rachel Jans, John Kelsey, Jutta Koether, Christine Mehring, Matthias Mühling, Marcelle Polednik, Christian Rattemeyer, Kathrin Rottmann, Magnus Schaefer, and Lanka Tattersall. Bibliography by Erhard Klein. Interview with the artist by Benjamin H. D. Buchloh

Working across an unusually broad range of media, including painting, photography, film, drawing, and sculpture, Sigmar Polke is widely regarded as one of the most influential and experimental artists of the post-war generation. His irreverent wit and promiscuous intelligence, coupled with his exceptional grasp of the properties of his materials, provided the foundation for his punishing critiques of the conventions of art history and social behavior. Experimenting wildly with materials and tools as varied as meteor dust and the xerox machine, Polke made work of both an intimate and monumental scale, drawn from sources as diverse as newspaper headlines and Dürer prints. Polke avoided any one signature style, a fluid method best defined by the word “alibi,” which means “in or at another place.” This also is a reminder of the deflection of responsibility which shaped German behavior during the Nazi period, compelling Polke’s generation to reinvent the role of the artist. Published in conjunction with 

, the first exhibition to encompass the artist’s work across all media, this richly illustrated publication provides an overview of his cross-disciplinary innovations and career. Essays by Kathy Halbreich, Associate Director of The Museum of Modern Art; Mark Godfrey, Curator of International Art, Tate Modern; and a range of scholars and artists examine the full range of Polke’s exceptionally inventive oeuvre and place his enormous skepticism of all social, political and artistic conventions against German history.

Sigmar Polke: Alibis 1963–2010

Martha Buskirk

Chris Kraus

Linda Norden

Ingrid Schaffner

Paul Schimmel

Texts by Ingrid Schaffner, Martha Buskirk, Chris Kraus, Linda Norden, and Paul Schimmel

This volume examines the remarkable legacy of Jason Rhoades’s complex body of work. The Los Angeles–based sculptor Jason Rhoades was widely celebrated for sprawling, ambitious, and daring installations, editions, and events prior to his untimely death in 2006. Although he was far better known in Europe than America, many of Rhoades’s peers considered him to be one of the most important artists of his generation. In his work, cultural touchstones ranged from high to low, including the artists Marcel Duchamp, Donald Judd, and Paul McCarthy, race-car driver Ayrton Senna, actor Kevin Costner, the big bang, Swedish erotica, and the California gold rush. This volume, accompanying the first US survey of his works, centers on four highly sensory, large-scale pieces that incorporate neon, radio, smoke rings, and even a model train into large environments that engulf the viewer. These four canonical installations are navigated via five critical essays that help unify Rhoades’s labyrinthine, often overwhelming methods into the single overarching project he envisioned. The book also features illustrations of each major work dating from 1991 to 2006, accompanied by explanatory texts that illuminate Rhoades’s materials and methods as both highly accessible and artistically complex.

Jason Rhoades, Four Roads

Over the course of his thirty-five year career, Christopher Williams has produced photographs that engage the conventions of photojournalism, picture archives, and commercial imagery—often through a wry combination of parody and homage—and explore their sociopolitical contexts and implications. Using the process of reproduction as a point of entry, the artist questions the communication mechanisms and aesthetic conventions that influence our understanding of reality.

 is the second volume in an ambitious series of books developed by Williams in conjunction with his first major museum survey, 

, a critically acclaimed exhibition co-organized for 2014-2015 by The Art Institute of Chicago with The Museum of Modern Art, New York and Whitechapel Gallery, London

Following the first publication, an exhibition catalogue that relied more heavily on text than image, 

was conceived to exist as a stand-alone visual object and extend the artist’s conceptual and aesthetic concerns into book form. A perfect companion to the first publication, it reproduces a carefully curated selection of Williams’s painstakingly constructed photographs and features striking graphic design in the near-complete absence of language, with no essay, captions, or even a title page. Through clever manipulations of cropping, ordering, and pagination, 

offers readers an original aesthetic experience and comprehensive insight into the practice of one of today’s most thought-provoking artists, while—through pure visual splendor—pushing the boundaries of the artist’s book into new realms. As with all publications in the series, it has been produced in three colors—yellow, red, and green—each of which features subtle differences in layout.

Christopher Williams: Printed in Germany (green)

Robert Storr

In February 1943, the progressive newspaper PM hired Ad Reinhardt as its staff artist and, in January 1946, Reinhardt embarked on his most ambitious illustration project—the notable 

 series, in which his cartoons and collages transformed from small, supplemental illustrations, to complex, ironic, and pithy art-historical lessons always articulated with a keenly critical eye and a wry sense of humor that remains relevant today. 

In addition to showing Reinhardt’s complete 

 series, this catalogue, which was published on the occasion of the 2013 exhibition at David Zwirner in New York, also includes the artist’s ever-relevant biting, satirical critiques of the contemporary art world later published in such periodicals as 

. As Dan Nadel notes in his review of the exhibition, “Reinhardt winkingly guides viewers through art as he knew it. Along the way there are many now-forgotten artists, critics, curators and galleries, and many still known. But trace-the-reference is only part of the fun. The elegance of Reinhardt’s compositions, the deftness with which he juxtaposes text and image, and his infrequent, but jarring use of hand-drawn cartooning make each strip a gem.”

Introducing new scholarship on this facet of Reinhardt’s career by curator Robert Storr, the publication includes large, black-and-white plates of the artist’s art comics. Storr lists a handful of Reinhardt’s contemporaries who were, like the artist himself, successfully employed as illustrators in the 1930s, 1940s, and 1950s, from Philip Guston to Saul Steinberg—but among them, he declares, only Reinhardt managed to “transform that bread-and-butter occupation into a full-fledged but at the same time separate dimension of his larger aesthetic enterprise.” From 

, printed with a telling disclaimer that the editors’ views “do not necessarily reflect those of the author of this page,” to 

, accompanied by passionate cautions against the danger of market obsession, these pages bring to life Reinhardt’s inimitable spirit for provocation and thoughtful critique. They exist as a testament to his legacy as one of the most important artists of the twentieth century, and his comics continue to resonate as important examples of astute political, cultural, and social commentary.

Art Comics

Ad Reinhardt: How to Look

Portrait of Toba Khedoori, 1995. Photo by Rachel Khedoori.

Julien Bismuth

Los Angeles-based artist Toba Khedoori is known for delicately shaded, large-scale compositions that depict objects and everyday environments divorced from any background. Whether drawing and painting onto thin sheets of paper and stapling these directly onto the wall, or using canvas as physical support, her works are poised between ephemerality and monumentality. Doors and windows, chairs and stairs, fences and bricks, train compartments and fireplaces appear at once familiar and unrecognizable, and their “neither-here-nor-there” presence seems to become a space for meditation.

Designed in close collaboration with the artist, this exquisitely produced—and generously scaled—catalogue features a recent series of oil paintings from her 2012 exhibition at David Zwirner in New York, which marked her sixth presentation with the gallery. Gatefolds allow the viewer to appreciate the intricacy of these works. Ropes in various configurations are a recurrent motif, along with subjects from the natural world, including mountain ranges, tree branches, and rivers. Spare, open expanses of the white page surround some of the renderings, giving the images a calming, otherworldly quality; their visual power is contextualized with an essay about Khedoori’s practice by noted artist and writer Julien Bismuth.

Toba Khedoori

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

Produced in close collaboration with the artist, this beautifully designed publication features works on paper created over the past decade by Suzan Frecon. Large-scale reproductions and gatefold pages reveal the extraordinary details: watercolors are on agate-burnished old Indian ledger paper, found or salvaged old Indian paper, agate-burnished double-weight Indian jute paper, Chinese Yumei, Japanese handmade paper, Fabriano hot press paper, and Arches hot press paper.

Also included are excerpted texts by Sarah Eckhardt from her 2008 essay “Portio Minor: Suzan Frecon’s Watercolors,” reproductions of books from the artist’s library, and intimate photographs of the artist’s studio.

Suzan Frecon: paper

Created by Pascal Dangin in collaboration with the artist, this large-scale publication presents the now iconic 

Between 1990 and 1992, Philip-Lorca diCorcia, funded by a National Endowment for the Arts fellowship, made multiple trips to Los Angeles to scout locations, invent scenarios, and ultimately find male prostitutes that would agree to pose for photographs. DiCorcia used his fellowship money to pay the men whatever price they charged for their most typical service, and ultimately prompted a complaint of misuse of government funds. The titles of these encounters amplify the facts: Ralph Smith, 21 years old, Ft. Lauderdale, Florida, and $25.

 marks the beginning of diCorcia’s engagement with street photography. Many of his works appear to depict random events in public settings, yet rarely involve chance. Knowing precisely what he wanted from each photograph, diCorcia would first try out his idea for a composition with his assistants, and then return to the location with the hustlers he had approached (usually around Santa Monica Boulevard in Hollywood), such as a motel room, a vacant lot, a fast-food restaurant, in between and inside cars. The narrative was always deliberate, and the result is a series of carefully composed, yet loaded works which revolve around a tension between the subject’s unique presence in front of the camera and the artist’s predetermined idea for the shot.

 at David Zwirner, New York (September 12 – November 2, 2013).

Philip-Lorca diCorcia: Hustlers

Katharina Dohm

Geoff Dyer

Christoph Ribbat

Texts by Katharina Dohm, Geoff Dyer, and Christoph Ribbat

The photography of Philip-Lorca diCorcia achieves a marvelous balance of artifice and the everyday. Over the past three decades, diCorcia has developed a unique and influential style, in which a realistic, almost documentary style of representation is subverted or countered by visibly staged composition. This combination of seemingly opposite qualities endows his images with a mysterious eeriness. In his 

 series (1990–1992), diCorcia made portraits of male prostitutes in minutely composed settings, and for 

 (2000–2001)–probably his most famous series–he depicted passersby on the street in New York (who were oblivious to his photographing them) as though they were film stars. Alongside the series 

(1975–1999), this volume, published for a major European retrospective and produced in close collaboration with diCorcia, also features works from his new and ongoing 

Philip-Lorca diCorcia

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

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

Clara Dublanc

Oscar Murillo

Olu Odukoya

Published in an edition of 500 copies on the occasion of Oscar Murillo’s solo exhibition,

 if I was to draw a line, this journey started approximately 400km north of the equator

This publication features images of Murillo’s exhibition alongside photography taken at La Paila in Colombia and in the artist’s studio in London in 2013. There is an accompanying essay by Clara Dublanc, entitled 

Us, Them and the In-Between: Migrants’ Hidden Identity

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

Gerd Harry Lybke

Neo Rauch (born 1960) is one of the most important figurative painters of his generation and a pioneer of the so-called new Leipzig school of painting. Gespenster (Ghosts) is published for Rauch’s most recent solo exhibition of the same name at Galerie Eigen+Art Leipzig, in 2013. The catalogue contains the first reproductions of the 20 new paintings that were shown in the exhibition, as well as detailed views of the canvases and installation shots. Rauch’s new paintings portray brooding phantasmagoric scenarios composed of several different snapshots that spatially (and sometimes narratively) overlay each other. A rusty, red-brown undertone suffuses the pictures, its muteness emphasized against intensely chromatic areas. Unlike the large-scale paintings, Rauch’s smaller works are softer and more graphic, with isolated figures and deserted landscapes, like fragments from completed pictures that have become independent.

Neo Rauch: Gespenster

Marcel Dzama SOLO

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

Madeleine Grynsztejn

Brice Marden

Helen Molesworth

Peter Schjeldahl

Tommy Simoens

Lynne Tillman

Interviews with Brice Marden, Peter Schjeldahl, Robert Storr, Madeleine Grynsztejn, and Helen Molesworth by Lynne Tillman. Interview with the artist by David Zwirner

Belgian artist Luc Tuymans is widely credited with having contributed to the revival of painting in the 1990s. His sparsely colored, figurative works speak in a quiet, restrained, and at times unsettling voice, and are typically painted from pre-existing imagery which includes photographs and video stills, exploring diverse and sensitive topics including the Holocaust, the effects of images from 9/11, the ambiguous utopia of the Disney empire, the colonial history of his native Belgium, and the phenomenon of the corporation. Since 1994, Tuymans has committed himself to showing a new series of works at David Zwirner once every two years—a promise that he kept, and continues to keep, twenty years on, as his tempered style and political content have steadily garnered him worldwide acclaim.

Luc Tuymans: Exhibitions at David Zwirner 

includes additional visual material, as well as an updated appendix that features an exhibition history and bibliography. Striking color reproductions of the artist’s major works are contextualized by brief commentary, photographs, and archival documentation, as well as installation views, exhibition checklists, and personal photographs. Other texts include an interview between the artist and David Zwirner, as well as individual interviews conducted by Lynne Tillman with art critic Peter Schjeldahl; artist Brice Marden; art historian and academic Robert Storr; and together with Helen Molesworth and Madeleine Grynsztejn, co-curators of Tuymans’s major US retrospective.

Luc Tuymans: Exhibitions at David Zwirner

Detail of an oil on linen painting, titled Clear Message, dated 2019.

Anne Pontégnie

Edited by Karen Marta and Massimiliano Gioni. Text by Anne Pontégnie

Through painting, collage, artist books, sculpture and ceramics, Josh Smith's work is dominated by spontaneous, gestural brushstrokes and vibrant colors and characterized by systematic processes, replication, and serial repetition. Using his signature to structure the space of the picture, Smith investigates notions of authorship, authenticity and originality. Part of the 

 series, conceived and commissioned by Massimiliano Gioni, and published by the Deste Foundation, 

 presents the entirety of the American artist\s works in the Dakis Joannou Collection and includes an essay by Anne Pontegnie that examines how the artist explicitly seeks to open up a different pictorial space.

Josh Smith: 2000 Words

Edited by Nicholas Fox Weber. Texts by PierCarla Delpiano, Nicholas Fox Weber, Nick Murphy, Paolo Papone, Marco Pierini, Colm Tóibín, and Julie Agoos

The spiritual elements in Josef Albers’s work are considered in this beautifully illustrated catalogue for an exhibition. The book includes large-scale reproductions of rare early drawings, photographs, stained-glass assemblages, 

, and a range of abstract paintings, including examples from his 

 series. Essays by Nicholas Fox Weber, Paolo Papone, Marco Pieri, Colm Tóibín, and Julie Agoos provide context for Albers’s relationship to Catholicism (in which he was raised) and his sense of the mystical.

Josef Albers: Sublime Optics

Thomas Seelig

Text by Mark Godfrey and Thomas Seelig. Interview by Eva Respini

Published to accompany a career-spanning survey at the 

 synthesizes Welling’s various photographic series, which range from abstract photograms to documentary-style portrayals of the New England landscape. The exhibition traveled to the Hammer Museum in Los Angeles (through January 2014).

Operating in the hybrid ground between painting, sculpture, and traditional photography for the past 35 years, Welling is first and foremost a photographic practitioner enthralled with the possibilities of the medium. This book provides the most thorough presentation of the artist’s work to date.

Since the mid-1970s, Welling’s work has explored realism and transparency, abstraction and representation, optics and description, personal and cultural memory, and the material and chemical nature of photography. The artist has been the subject of numerous catalogues addressing his more than 25 bodies of work, yet no previous book has attempted to link these works and examine the primary threads that run through them all. Sumptuously produced and created in close collaboration with the artist, this volume presents a large selection of recent series, from 2000 through to the present, interspersed with important early and iconic works made in the preceding decades.

James Crump, former Chief Curator of the Cincinnati Art Museum who organized the exhibition, contributes an extensive introductory essay. Also included are text contributions by Mark Godfrey, Curator, Tate Modern and Thomas Seelig, Curator, Fotomuseum Winterthur, plus an interview with Eva Respini, Associate Curator, Department of Photography at the Museum of Modern Art.

 from the book: a conversation between Welling and by Respini.

James Welling: Monograph

Eva Badura-Triska

Klaus Goerner

Georg Grooelle

Peter Keicher

Andreas Reiter-Raabe

Texts by Eva Badura, Klaus Goerner, Georg Grooelle, Peter Keicher, Andreas Reiter-Raabe

The focus of this publication is Franz West’s (1947–2012) 

 installations, in which greatly differing individual pieces are brought together and then recomposed into new works. Gathering elements such as fittings, furniture, sculpture, videos, and works on paper from all periods–and even works made by artist friends–into grand ensembles, the 

 are without doubt key elements in West’s legacy. An example is the three-part papier-mâché sculpture 

 (1994), with its motif of a dieting woman showing her oversized pants. Omitting the “W,” West transforms 

, in order to derive the title for a larger work, 

 With 250 color illustrations, this substantial and inspiring volume, and the exhibition it accompanies, were overseen by the artist himself, before his death in the summer of 2012.

Franz West: Where Is My Eight?

Deborah Solomon

Marcel Dzama’s work is characterized by an immediately recognizable visual language that draws from a diverse range of references and artistic influences, including Dada and Marcel Duchamp. While he has become known for his prolific drawings with their distinctive palette of muted colors, in recent years, the artist has expanded his practice to encompass sculpture, painting, film, and dioramas.

Created in close collaboration with the artist, this richly illustrated catalogue presents his 2013 exhibition at David Zwirner in London, which included videos inspired by the game of chess and puppets and masks based on the characters, along with drawings, collages, dioramas, paintings, and sculptural works. Dzama utilized the architecture of the gallery itself—an eighteenth-century Georgian townhouse—by hanging puppets from a skylight above the five-story building’s central spiral staircase and placing monitors in the windows so videos were viewed from the street. As writer Deborah Solomon notes in her accompanying essay, “Naturally, it is a futile endeavor to try and extract anything as compact as a moral or a single storyline from the twisty symbolism of Dzama’s art. But you can say, at the very least, that his latest work is suffused with a sense of nostalgia for the European avant garde in its heyday—it invites you to enter a world filled with costumes and masks and erotic play, with chessboard personalities dancing their heads off, with the sort of brazen gestures in which the Dadaists and the Surrealists specialized. To be sure, the old avant garde is long gone. It isn’t coming back. What Dzama offers us in its place is a fairy tale about a world where art once tried to be pathbreaking and revolutionary, and which lives on today as a story we tell and re-tell about a lost civilization.”

Marcel Dzama: Puppets, Pawns, and Prophets

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Leslie Camhi

RoseLee Goldberg

Takaya Goto

Laura Hoptman

Arthur Lubow

Kevin McGarry

Louise Neri

Olivier Zahm

Edited by Louise Neri and Takaya Goto. Contributions by Leslie Camhi, RoseLee Goldberg, Laura Hoptman, Chris Kraus, Arthur Lubow, Kevin McGarry, Louise Neri, Akira Tatehata, and Olivier Zahm

The most comprehensive book devoted to the incomparable and iconic work of Yayoi Kusama. Yayoi Kusama, now in her eighties, has become a vital force in contemporary art and an influence on generations of artists. Arriving in New York City in 1958 from her native Japan, she embarked on a series of works that forged a new visual vocabulary—the Net paintings, which were composed of scores of small, thickly painted loops spanning large canvases. Her singular approach to art making continued in other extraordinary bodies of work, including the phallic soft sculptures which she later incorporated into full-scale environments. In 1973 she returned to Japan, where she lives and works today. Since then, she has created dazzling walk-in mirror rooms and her now-famous pumpkin sculptures, as well as writing poetry and novels. In this book—created in close collaboration with Kusama and her Tokyo studio—the breadth and import of this watershed artist’s career are considered in depth. In addition to studies of the development of her artistic vocabularies across different media, the book includes ephemera, sketches, and photographs from the artist’s extensive archive that have never been seen before. The publication is timed to coincide with the artist’s major touring retrospective, which makes its American debut at the Whitney Museum in New York in summer 2012, as well as with the much-anticipated collaboration with powerhouse fashion brand Louis Vuitton.

Yayoi Kusama

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

In February 2011, German photographer Wolfgang Tillmans (born 1968) decided to pay a visit to Fruit Logistica, the most important convention in the international fruit trade, held annually in Berlin. More than 2,400 fresh produce companies gather at the convention, presenting a dazzling panorama of texture and color. “I was left open-mouthed by the crazy displays and the variety and complexity of the international fruit trade and its processing machinery,” he records. “I reacted with my camera straight away.” The resultant 66 color photographs are published here for the first time.

Wolfgang Tillmans: Fruit Logistica

Edited by Gregor Jansen, Magdalena Holzhey

German painter Tomma Abts (born 1967) creates her geometric abstractions through a slow and strict process, always deploying the same modest portrait format (19 x 15 inches), and applying layer upon layer of paint like blankets of sediment. This catalogue brings together her older paintings with her most recent work and offers the fullest presentation of her career to date.

Out of print

Tomma Abts

Scott Harding

John Medeski

Special six-sided 10th Anniversary Edition vinyl

(2003) is the final state of a work that Stan Douglas first presented during the summer of 2002 at 

 in Kassel. In the earlier version, pre-recorded videos of scenes from the Grimms’ fairy tales were superimposed in a random rotation with live, black-and-white feeds from surveillance cameras inside the labyrinthian corridors of Kassel’s Herkules Oktagon monument. A computer mixed this material in real-time, adding sporadic narration and musical accompaniment, and as a result, an effectively endless number of possible permutations were generated: there were no repetitions during the one hundred days of 

Further elaborating upon this work, Douglas taped the random mix of pre-recorded material and surveillance feeds in Kassel and re-edited it with additional scenes and revised narration. First shown in 2003 as a projected installation controlled by an apparatus with a generative algorithm, the present monitor version is derived from this system.

The visual presentation of the pre-recorded fairy tales in 

presents a link with Dario Argento\s eponymous horror movie from 1977. Argento's film was shot in Technicolor, a now obsolescent process which confers a lush, highly saturated palette to the material. Douglas’s scenes capture the style and sound of the film, and their juxtaposition with the muted aesthetics of the Kassel surveillance feeds creates a visually complex, almost delirious effect.

As Nell McClister notes, “Douglas’s overall project involves modernism’s promise and the nostalgia that results from its failure. With 

 the artist turns explicitly to a few historical moments of utopian aspiration. Referring to both 

(in which Marx repeatedly nods to a fairy-tale idiom of drama and transformation) and 

(which famously opens with the 'spector of communism' hanging over Europe), Douglas mines the Grimms’ stories for economic and social allegory.”

Stan Douglas: Suspiria

Lewis Carroll

Text by Lewis Carroll. Artwork by Yayoi Kusama

Since childhood, Kusama has been afflicted with a condition that makes her see spots, which means she sees the world in a surreal, almost hallucinogenic way that sits very well with the Wonderland of Alice. She is fascinated by childhood and the way adults have the ability, at their most creative, to see things the way children do, a central concern of the Alice books, by Lewis Carroll.

The book is colour illustrated to very high specification, with her images interspersed thoughtfully throughout the text.

Lewis Carroll's Alice's Adventures in Wonderland: With Artwork by Yayoi Kusama

Paul McCarthy

Eva Meyer-Hermann

Ralph Rugoff

Text by Paul McCarthy, Eva Meyer-Hermann, and Ralph Rugoff

The installation “Perfect World,” which Jason Rhoades created for the Deichtorhallen in Hamburg in 1999, is regarded by many as his most important project. This publication is devoted to that huge work, looking at it from a historical distance, and examining the artist’s central modi operandi as prototypes.

In a wide-ranging conversation Paul McCarthy, a former teacher and friend of the artist, together with Ralph Rugoff, looks back at the Hamburg project and discusses its significance in the context of Rhoades’s work overall. In his essay, Rugoff examines the true-to-scale reductions in the installation, which were created in aluminum and sterling silver as reflections of 

, and which can hardly be included in the traditional concept of the “model.” A picture essay by Eva Meyer-Hermann looks at the phenomenon of the recycling of materials in Rhoades’s work, and follows the further development of central themes in the Hamburg installation.

The book includes many drawings from the artist’s “XEROX-book” that can be read as notes on the intellectual zones and material levels of 

 while at the same time prefiguring many artistic ideas that occupied Rhoades until his early death in 2006. Lavish illustrations and numerous historical photographs of the versions of 

 created in 1999 and 2000, as well as of the complete version of the installation shown in its entirety for the first time in London in 2010 as 

 provide a detailed insight into Rhoades’s artistic cosmos.

Jason Rhoades: The Big Picture

Tiffany Bell

Isabelle Dervaux

Jennifer Raab

With texts by Tiffany Bell, Isabelle Dervaux, and Jennifer Raab

This publication documents the first retrospective of the artist’s drawings, which was held at The Morgan Library & Museum, New York, in 2012 (it then traveled to the Kunsthalle Bielefeld, Germany, in 2012-2013). The catalogue explores the central role that drawing played in Flavin’s practice, and includes essays by exhibition curator Isabelle Dervaux, noted Flavin scholar Tiffany Bell, and art historian Jennifer Raab. Excerpts from Flavin’s journal, in which he writes about his relationship to drawing, are published here for the first time. This richly illustrated catalogue features over 190 plates, including selections from the artist’s personal collection of nineteenth-century Japanese drawings, Hudson River School landscape studies, and drawings by other twentieth-century artists, from Piet Mondrian to Donald Judd.

Dan Flavin: Drawing

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