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

Mark Godfrey

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

Michael Darling

Jeffrey D. Grove

Lisa Lee

Stephanie Weber

Texts by Michael Darling, Jeffrey Grove, Lisa Lee, and Stephanie Weber

Isa Genzken is arguably one of the most important and influential female artists of the past 30 years, yet the breadth of her achievement–which spans sculptures, paintings, photographs, collages, drawings, artist’s books, films, installations, and public works–is still largely unknown in the United States. Published in conjunction with the first comprehensive retrospective of the artist’s epically diverse body of work, this publication encompasses Genzken’s work in all media over the past 40 years and is the most complete monograph on the artist available in English. Genzken has been part of the artistic discourse since she began exhibiting in the mid-1970s, but over the last decade a new generation of artists has been inspired by her radical inventiveness. The past ten years have been particularly productive for Genzken, who has created several bodies of work that have redefined assemblage for a new era. The catalogue presents Genzken’s career, through essays exploring the unfolding of her practice from 1973 until today, as well as an expansive plate section that provides a chronological overview of all her most important bodies of work and key exhibitions.

Isa Genzken: Retrospective

James Lawrence

Known for sculptures that outline planes and volumes in space using the humblest of materials, Fred Sandback (1943–2003) was an American artist whose work is informed by a minimalist artistic vocabulary. Though Sandback employed metal wire and elastic cord in his earliest works, the artist soon dispensed with these materials and began using acrylic yarn to create sculptures that produced perceptual illusions while addressing their physical surroundings—the “pedestrian space,” as Sandback called it, of everyday life. Throughout the course of his career, yarn enabled the artist to elaborate on the phenomenological experience of space and volume with unwavering consistency and ingenuity. 

 is the third in a series of illustrated hardcover monographs on the artist published by David Zwirner. Documenting the eponymous exhibition held at the gallery in 2012, this award-winning publication covers a selection of Sandback’s work dating from 1968 to 2008, thus spanning five decades of production. With ninety reproductions in color, this beautifully produced catalogue includes a fully illustrated chronology with selected biographical and bibliographical material, as well as new scholarship on Sandback by art historian James Lawrence.

Fred Sandback: Decades

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

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

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

Spanning the most important era of his life, from the painful formative years of his early adolescence to the fame and fortune of his adulthood, this collection of personal correspondences sheds light on the artistic development, bitter struggle, and ultimate triumph of the greatest cartoonist of the twentieth century. A powerful literary view into the mind of an artistic genius, and an entertaining read even for those few not familiar with the cartooning giant's work. It's Crumb's sketchbook of words, featuring tons of great art, including entire letters done in cartoon form!

Out of stock

Your Vigor for Life Appalls Me: Robert Crumb Letters 1958–1977

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

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

Christine Kintisch

Belgian artist Michaël Borremans (born 1963) is among the most brilliant painters of emotion of the past half-century. An heir to the sober, enigmatic character studies of Manet and Velazquez and the thick indoor atmospheres of Vermeer, Borremans has greatly advanced this tradition, in part through his incorporation of cinematic allusion and of that uniquely Belgian take on Surrealism that is at once deeply phlegmatic and bizarrely comical. Any divisions between realism and flights of fantasy are mysteriously abolished by Borremans, however, leaving the viewer to confront his intense, almost claustrophobic painterly world. Published for an exhibition at BAWAG Contemporary in Vienna, 

 presents a concise selection of a dozen canvases made over the past five years, examined in dialogue with the artist’s drawings and films.

Michaël Borremans: Magnetics

 finally charts the daily exploits and erotic craziness of this “First Couple” of comics. Who could have imagined that in 1972, when Aline Kominsky, a Long Island escapee and bodaciously talented artist, broke her foot one rainy fall day, it would result in the most unique collaboration in comics history? Laid up in her house, she was persuaded by R. Crumb, her nerdy, neurotic boyfriend, to pass the time drawing together a “two-man” comic. The result is a jaw-dropping yet tender account, not only of the joys and challenges of a legendary marriage, but also of the obstacles faced by struggling female artists. In 

, our foremost male-female cartooning couple recall their success at shocking America with 

, the life-altering birth of their precocious daughter Sophie, and their astonishing move to the safe haven of France. With an irresistible introduction and a striking four-color section, Drawn Together becomes a graphic cause-célebre and a must-have for any comics devotee.

Drawn Together: The Collected Works of R. and A. Crumb

Detail view of Alice Neel's 1967 painting titled Richard

Tim Griffin

Louise Sørensen

Texts by Tim Griffin and Louise Sørensen

Alice Neel (1900–1984) is widely regarded as one of the greatest portraitists of the 20th century. Described as “the pre-eminent painter-chronicler of New York bohemia” by Deborah Solomon of 

, the artist selected her subjects among from her family, friends, and a broad variety of locals: writers, poets, artists, students, textile salesmen, psychologists, cabaret singers, and homeless bohemians. Thus, her eccentric choices also comprised a portrayal of, and dialogue with, the city in which she lived. Through her forthright and at times humorous touch, her work engaged with ongoing political and social issues, including gender, racial inequality, and labor struggles, and she remains a hero to many of today’s most influential figurative painters, including Marlene Dumas, Eric Fischl, and Elizabeth Peyton.

Published on the occasion of a solo exhibition at David Zwirner in New York in 2012—the second solo exhibition of the artist’s work at the gallery since Zwirner started representing her Estate in 2008—this beautifully designed book presents a selection of portraits and still lifes from the last two decades of the artist’s life, made between 1964 and 1983. Anchored by large-scale color reproductions of her compelling compositions, the publication also includes an essay by Tim Griffin, Executive Director and Chief Curator at The Kitchen, New York, and former 

Alice Neel: Late Portraits & Still Lifes

Interviews compiled by Jessamyn Fiore. Introduction and selected texts by Louise Sørensen

112 Greene Street was more than a physical space—it was a locus of energy and ideas that with a combination of genius and chance had a profound impact on the trajectory of contemporary art...its permeable walls became the center of an artistic community that challenged the traditional role of the artist, the gallery, the performer, the audience, and the work of art.

112 Greene Street was one of New York’s first alternative, artist-run venues. Started in October 1970 by Jeffrey Lew, Gordon Matta-Clark, and Alan Saret, among others, the building became a focal point for a young generation of artists seeking a substitute for New York’s established gallery circuit, and provided the stage for a singular moment of artistic invention and freedom that was at its peak between 1970 and 1974.

112 Greene Street: The Early Years (1970–1974)

 is the culmination of an exhibition by the same name that was on view at David Zwirner in New York in 2011. This extensively researched and historically important book brings together a number of works that were exhibited at the seminal space (including works by Gordon Matta-Clark, Vito Acconci, Tina Girouard, Suzanne Harris, Jene Highstein, Larry Miller, Alan Saret, and Richard Serra); extensive interviews with many of the artists involved in the space; a fascinating timeline of all the activity at 112 Greene Street in the early years; and installation views of the 2011 exhibition. The interviews in the book have been prepared by the exhibition’s curator, Jessamyn Fiore, and Louise Sørensen, Head of Research at David Zwirner, has contributed an introductory text that illuminates the space’s significance and critical reception during the prime years of its operation, as well as commentary on individual works in the show.

112 Greene Street: The Early Years (1970-1974)

Edited by Michelle White, Bernice Rose and Gary Garrels. Contributions by Magdalena Dabrowski and Richard Shiff



As the focal point of numerous high-profile exhibitions, the sculpture of Richard Serra (b. 1939) has drawn international acclaim. Yet even those who have marveled at Serra's intellectually rigorous and large works of sculpture may not be familiar with his equally intriguing drawings. This handsome book brings together for the first time Serra's drawn work, considering the artist's investigation of medium as an activity both independent from and linked to his pioneering sculptural practice.

First working in ink, charcoal, and lithographic crayon on paper, Serra originally used drawing as a means to explore form and perceptual relations between his sculpture and the viewer. Over time, his drawings underwent significant shifts in concept, materials, and scale and became fully realized and autonomous works of art. The grand, bold forms he created with black paintstick in his monumental Installation Drawings were designed to disrupt and complement existent spaces and eventually began to occupy entire rooms. In the late 1980s, Serra explored the tension of weight and gravity through layering, and his most recent work experiments with surface effects, using mesh screens as intermediaries between the gesture and the transfer of pigment to paper.

Richard Serra Drawing: A Retrospective

A detail from a painting by Steven Shearer, titled The Collector's Visit, dated 2019.

Steven Shearer, The Collector's Visit, 2019

Adopting and elaborating upon stylistic repertoires drawn from the history of figure painting, Steven Shearer makes formal and thematic parallels between art history and the iconography associated with various contemporary subcultures including their modes of dissemination such as fanzines and image shrines on personal websites. He is interested in how contemporary society unconsciously echoes specific manners of appearance that have been explored by historical movements or schools. Seen in this light the resemblance between the long, flowing hair of his metal-head rockers and the tresses of Pre-Raphaelite heroines is not fortuitous. Central to Shearer's work is his ongoing compilation of an archive of thousands of images culled from magazines, songs and the internet. In his paintings, text-based works, sculptures and photographic compilations, these sources function generatively as they are combined and recycled across his works. By showing us aspects of popular culture anachronistically, Shearer exposes the false hierarchy of high and low art and prompts us to consider the differences between the cultural industries and the art world.

Steven Shearer: Exhume to Consume

Louis Kaplan

Maria Muhle

Melanie O’Brian

Introduction by Melanie O’Brian. Texts by Louis Kaplan and Maria Muhle

Marking the first in a new series of scholarly readers called Power Plant Pages, this richly designed catalogue was published on the occasion of Stan Douglas’s 2011 solo exhibition at The Power Plant in Toronto. Titled 

Entertainment: Selections from Midcentury Studio

, the exhibition featured two complementary series, 

, recently created by the artist. Douglas has assumed the role of a fictional, anonymous photographer for both series, which were hypothetically produced between 1945-1951. 

 chronicles the burgeoning discipline of press photography in North America during the postwar period, depicting crime-scenes, curious and exotic artifacts, magicians, fashion, dance, gambling, and technology, while 

 comprises black-and-white portraits of the patrons and staff of a fictional 1950s nightclub. Also included are essays by Louis Kaplan, Professor of History and Theory of Photography and New Media at the University of Toronto, and art historian Maria Muhle.

Stan Douglas: Entertainment

Noam M. Elcott

Sylvia Lavin

Introduction by Noam Elcott. Text by Sylvia Lavin

Over the course of three years, from 2006 to 2009, James Welling (born 1951) photographed the Glass House, the architectural landmark estate that Philip Johnson built in New Canaan, Connecticut, in 1949. Welling's photos offer a decided departure from the familiar views of the house and grounds: using digital cameras set on a tripod and holding a variety of filters in front of the lens, he created tinted veils and distortions that transformed the image at the moment of exposure, endowing it with powerful swells of glowing color. As Welling described it in an interview with 

, the use of filters enabled his project to become "a laboratory for ideas about transparency, reflectivity and color." The 45 images presented here, which invite the viewer to draw associations between the camera's lens and the glass surfaces of the house itself, oscillate before our very eyes between photographic abstraction--a recurrent preoccupation for Welling--and depictions of architecture. With this body of work, Welling has located a wholly new approach to, and blend of, both genres.

James Welling: Glass House

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

Howard Singerman

This book examines the career of New York-based artist Sherrie Levine, whose 1981 series of photographs “after Walker Evans”—taken not from life but from Evans’s famous depression-era documents of rural Alabama—became central examples in theorizing postmodernism in the visual arts in the 1980s. For the first in-depth examination of Levine, Howard Singerman surveys a wide variety of sources, both historical and theoretical, to assess an artist whose work was understood from the outset to challenge both the label “artist” and the idea of oeuvre—and who has over the past three decades crafted a significant oeuvre of her own. Singerman addresses Levine’s work after Evans, Brancusi, Malevich, and others as an experimental art historical practice—material reenactments of the way the work of art history is always doubled in and structured by language, and of the ways the art itself resists.

Art History After Sherrie Levine

Alexander Alberro

Nora M. Alter

Serge Guilbaut

Sven Lütticken

Jesse Proudfoot

Texts by Nora M. Alter, Serge Guilbaut, Sven Lütticken, and Jesse Proudfoot. Interview with the artist by Alexander Alberro

 is a 44-foot mural installation by Stan Douglas on permanent display at The Woodward Complex in Vancouver. This beautifully designed monograph takes an in-depth look into this monumental work that depicts a staged reenactment of a violent event in Vancouver’s Downtown Eastside. The Gastown Riot, as it came to be known, was the culmination of mounting tensions between the city’s counterculture and police following weeks of drug-related arrests. Thousands of people had gathered in a peaceful “smoke-in” protest in the Gastown district, before police in riot gear broke up the event using batons, horses, and dogs to disperse the protesters. Douglas’s meticulous recreation captures the ensuing mayhem with its general atmosphere of confusion and panic. This monograph features essays by Nora M. Alter, Serge Guilbaut, Sven Lütticken, and Jesse Proudfoot and an interview with the artist by Alexander Alberro. Also included are supplementary works from Douglas’s 

 series and archival photographs of the Gastown Riot.

Stan Douglas: Abbott & Cordova, 7 August 1971

Michael Almereyda

Lloyd Fonvielle

Kristine McKenna

Greil Marcus

Amy Taubin

Texts by Michael Almereyda, Lloyd Fonvielle, Kristine McKenna, Greil Marcus, and Amy Taubin

For Now is the result of filmmaker Michael Almereyda’s year-long search through the Eggleston archives, a remarkable collection of heretofore unseen images spanning four decades of work by one of our seminal artists. Unusual in its concentration on family and friends, the book highlights an air of offhand intimacy, typical of Eggleston and typically surprising.

William Eggleston: For Now

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