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!

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

 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

Text by Richard Shiff. Interview with the artist by Jochen Poetter

One of the most important American artists of the postwar period, Donald Judd has come to define Minimalist art—though he continued to strongly object to this categorization throughout his life. His unaffected, straightforward approach to his work and his strong interest in color, form, material, and space led him to create striking art objects with a direct physical “presence,” eschewing grand philosophical statements.

Judd began his practice as a painter in the late 1940s; however, he soon introduced three-dimensional elements into the surface of his work. His first sculptural objects took the form of shallow reliefs, and by 1963 he had begun to create freestanding works that were presented directly on the floor and the wall. Throughout his practice, Judd used materials such as plywood, steel, concrete, Plexiglas, and aluminum and employed commercial fabricators in order to get the surfaces and angles he desired, creating declaratively simple, fundamental sculptural forms.

This publication documents an exhibition held at David Zwirner in New York in 2011, which brought together twelve identically scaled aluminum works from the artist’s seminal 1989 solo presentation at the Staatliche Kunsthalle Baden-Baden. That exhibition marked the first time Judd used colored anodized aluminum in such a large, floor-mounted format —thus comprising one of his few explorations of color on a large scale and providing a focused investigation of one of the key concerns within his practice. Although he had previously examined the qualities of an open box form, the works created for Baden-Baden display a distinct systematic approach in determining the interior space of each box, which Judd divided vertically in different spatial configurations, sometimes introducing color through the use of anodized elements or sheets of Plexiglas in blue, black, or amber. The combinations of materials, dividers, and colors —which differ from box to box—thus determine the singular nature of each work within a finite number of variable possibilities, each of the boxes being an individual work that represents one possibility within the given parameters.

Featuring new scholarship by art historian Richard Shiff, the book’s stunning visual elements are contextualized by such archival materials as Judd’s preparatory drawings, as well as an interview with the artist conducted in 1989 by Jochen Poetter.

Donald Judd

A gelatin silver print by Diane Arbus, titled Triplets in their bedroom, N.J. 1963, dated 1963.

 is the closest thing possible to a contemporaneous diary by one of the most daring, influential, and controversial artists of the twentieth century. Drawn primarily from Arbus’s correspondence with friends, family, and colleagues; personal notebooks; and other unpublished writings, this beautifully produced volume exposes the astonishing vision of an artist with the courage to see things as they are and the grace to permit them simply to be. The 

 also includes exhaustively researched footnotes, and biographies of fifty-five personalities, family members, friends, and colleagues, including Marvin Israel, Lisette Model, Weegee, and August Sander.

: “Arbus…wrote as well as she photographed, and her letters, where she heard each nuance of her words, were gifts to the people who received them. Once one has been introduced to it, the beauty of her spirit permanently changes and deepens one’s understanding of her pictures…”

makes these invaluable texts, which originally appeared in 

, available in an accessible paperback for the very first time.

Diane Arbus: A Chronology

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

While he began his studio practice as a painter, in 1985 Al Taylor devised a uniquely innovative approach to process and materials that encompassed two-dimensional drawings and three-dimensional objects. Taylor ultimately sought to expand the possibilities of vision by creating new ways of experiencing and imagining space, and his work provides the viewer with an insight into the artist’s thinking and his investigations of perception across several dimensions. Published on the occasion of the exhibition

 at David Zwirner, this catalogue presents a comprehensive exploration of the two series: 

 [sic], which includes works from 1995 to 1997. Both series demonstrate Taylor’s spatial concerns through multi-dimensional composition.

Al Taylor: Rim Jobs and Sideffects

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

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

Edited by Pablo Sigg and Tommy Simoens. Texts by Luc Tuymans, Pablo Sigg, Tommy Simoens, and Gerrit Vermeiren

Produced in close collaboration with the artist, this volume presents more than 100 paintings produced between 2004 and 2008. Beginning with 

, Luc Tuymans produced a landmark suite of seven thematically linked bodies of work. With a visual narrative that traces the philosophical and psychic roots of contemporary civilization, the series interweave a range of sources — from St. Peter’s Basilica to Disneyland to the 

 house — that together tell the banal and terrifying story of our times. Also included are photographs, preparatory drawings, watercolors, and installation views, all in full color.

Introducing each body of work is a text written by the artist. ‘Proper,’ an essay by Belgian art historian Gerrit Vermeiren, looks at one body of work in detail, tracing the themes of each painting and capturing the cultural atmosphere of the moment in which they were produced. ‘Tuymans, Loyola, Leibniz,’ specially commissioned from Pablo Sigg, an artist and writer based in Mexico, provides historical and philosophical context. An extensive interview by Belgian artist Tommy Simoens offers further insight into Tuymans’s thinking and motivations.

Luc Tuymans: Is It Safe?

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

Tiffany Bell

Dan Graham

Anne Rorimer

Alexandra Whitney

Texts by Tiffany Bell, Anne Rorimer, Richard Shiff, and Alexandra Whitney. Interview with Dan Graham

Described by fellow artist Mel Bochner as “one of the first artists to make use of a basically progressional procedure,” influential Minimalist artist Dan Flavin was known for his systematic arrangement of color and light. This major monograph was published on the occasion of 

—the first exhibition of the artist’s work held in 2009 at David Zwirner in New York since the gallery announced its representation of Dan Flavin. Featuring over fifty full-color plates of exemplary works made between 1963 and 1990, in addition to a comprehensive selection of installation views, archival photographs, and documents, this publication carefully examines Flavin’s use of progressions and serial structures, ideas that were central to his practice throughout his career. It also describes how his manipulations of color and light were aspects of his work that not only led to it being characterized as Minimal art but came to define and influence Conceptual artistic practices.

 includes new scholarship by noted Flavin scholar and curator Tiffany Bell (author of the artist’s catalogue raisonne´), Anne Rorimer, Richard Shiff, and Alexandra Whitney; an interview with Dan Graham; and a facsimile of the original catalogue from Flavin’s 1967–1968 exhibition alternating pink and ‘gold,’ at the Museum of Contemporary Art, Chicago. Additional context is provided by a detailed illustrated chronology, which documents historical exhibitions of Flavin’s work.

Dan Flavin: Series and Progressions

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

 at David Zwirner in fall of 2010, this beautifully designed and produced catalogue — with a text by noted curator and art historian Joachim Pissarro — features Suzan Frecon’s most recent large-scale oil paintings, along with newly commissioned color photography of exhibition and studio installation views, as well as the artist’s notebooks and sketches. Also included is the facsimile of a personal letter to the artist from poet Clark Coolidge.

Suzan Frecon: paintings 2006–2010

Diedrich Diederichsen

John Kelsey

Christopher Williams

Texts by Diedrich Diederichsen, John Kelsey, and Christopher Williams

For over 20 years Christopher Williams has worked in the field between photography as art and the application of the photographic medium to documentation, advertising, and journalism. The works involve volumes of such subtexts and themes, which are rarely fully apparent, but are concealed behind layer upon layer of circumstances and references, connotations, and background stories. Williams is a decided storyteller, and builds up his narratives by way of an almost essayistic juxtaposition of photographs that stand in relation – not directly obvious – with one another.

The exhibition in Bergen Kunsthall was the first solo presentation of Williams's work in Scandinavia and the title hints at a specific angle of approach to the complex network of connections. 

For Example: Dix-Huit Leçons Sur La Société Industrielle

 suggests a course of lessons that covers the industrial preconditions of the spread of photography, and which can in turn be applied to society in a larger perspective. The accumulation of loosely related events in European culture (decolonization, industrialization, the revolution of ‘68) is paralleled with inventions from the same era which have influenced photographic technology. The same title has been used for several exhibitions in recent years, but often with an addition that indicates that each new exhibition is a new experiment: a new revision. The way the titles begin with “For Example” also indicates the same experimental attitude.

The exhibition in Bergen Kunsthall was not a retrospective in the traditional sense, but brought out various aspects of the artistic oeuvre through a selection of both recent photographs and older works. The exhibition itself thus constituted a new revision of Williams’s ongoing project.

The exhibition catalogue collects, for the first time, a selection of Williams’s own writing in the form of press releases for recent exhibitions, each containing only minor changes from one exhibition to the next. The book also presents two new essays on the work of Christopher Williams by John Kelsey and Diedrich Diederichsen.

Christopher Williams: Program. For Example: Dix-Huit Leçons Sur La Société Industrielle (Revision 10)

A painting by Marlene Dumas, titled Longing, dated 2018.

Texts by Dominic van den Boogerd, Barbara Bloom, Mariuccia Casadio, and Ilaria Bonacossa

An investigation into the human form as painted by the acclaimed artist.

Marlene Dumas

This beautifully produced catalogue, Marcel Dzama: The Infidels, was published on the occasion of the artist’s fifth solo exhibition at Sies + Höke, Düsseldorf in 2009. In addition to featuring a variety of media including paintings, drawings, collages, and sculptures, the exhibition included a major new series of dioramas, which transport and expand his cast of recurring human, animal, and hybrid characters into three-dimensional space. This catalogue, housed in a beige cloth cover featuring a tipped-in image, is fully illustrated and includes sharp reproductions of the artist’s most recent work as well as installation views of the exhibition.

Marcel Dzama: The Infidels

Alison Gass

Bill Horrigan

Joseph Leo Koerner

Helen Molesworth

Joshua Shirkey

Lanka Tatersall

Edited by Madeleine Grynsztejn and Helen Molesworth. With essays by Helen Molesworth, Joseph Leo Koerner, Ralph Rugoff, and Bill Horrigan. Additional contributions by Alison Gass, Prudence Peiffer, Joshua Shirkey, and Lanka Tatersall.

Produced by the San Francisco Museum of Modern Art and the Wexner Center for the Arts in conjunction with the artist’s first full-scale American survey (2009-2011), this catalogue presents an array of original essays offering new critical perspectives on Luc Tuymans and his historical context. Featuring reproductions of approximately 75 works from 1985 to 2009, the rich plate section is accompanied by text entries that illuminate the painter’s primary subjects and themes, with particular attention paid to his working process and his adaptation of source materials. This book is not only the most comprehensive survey of Tuymans’s career to date, but also the most thorough chronology of his artistic development.

Luc Tuymans

Nominated for three 2010 Will Eisner Comic Industry Awards: From Creation to the death of Joseph, here are all 50 chapters of the Book of Genesis, revealingly illustrated as never before.

Envisioning the first book of the bible like no one before him, R. Crumb, the legendary illustrator, reveals here the story of Genesis in a profoundly honest and deeply moving way. Originally thinking that he would do a take off of Adam and Eve, Crumb became so fascinated by the Bible’s language, “a text so great and so strange that it lends itself readily to graphic depictions,” that he decided instead to do a literal interpretation using the text word for word in a version primarily assembled from the translations of Robert Alter and the King James bible.

Now, readers of every persuasion—Crumb fans, comic book lovers, and believers—can gain astonishing new insights from these harrowing, tragic, and even juicy stories. Crumb’s 

 reintroduces us to the bountiful tree lined garden of Adam and Eve, the massive ark of Noah with beasts of every kind, the cities of Sodom and Gomorrah destroyed by brimstone and fire that rained from the heavens, and the Egypt of the Pharaoh, where Joseph’s embalmed body is carried in a coffin, in a scene as elegiac as any in Genesis. Using clues from the text and peeling away the theological and scholarly interpretation that have often obscured the Bible’s most dramatic stories, Crumb fleshes out a parade of Biblical originals: from the serpent in Eden, the humanoid reptile appearing like an alien out of a science fiction movie, to Jacob, a “kind’ve depressed guy who doesn’t strike you as physically courageous,” and his bother, Esau, “a rough and kick ass guy,” to Abraham’s wife Sarah, more fetching than most woman at 90, to God himself, “a standard Charlton Heston-like figure with long white hair and a flowing beard.”

As Crumb writes in his introduction, “the stories of these people, the Hebrews, were something more than just stories. They were the foundation, the source, in writing of religious and political power, handed down by God himself.” Crumb’s

, the culmination of 5 years of painstaking work, is a tapestry of masterly detail and storytelling which celebrates the astonishing diversity of the one of our greatest artistic geniuses.

The Book of Genesis Illustrated by R. Crumb

Eva Meyer-Hermann

Despite his untimely death at the age of 42, Los Angeles-based artist Jason Rhoades (1965–2006) left behind a large body of sculpture that seized the imagination of a generation of artists, curators, and collectors in the 1990s. In this substantial new survey, Cologne-based independent curator Eva Meyer-Hermann traces the unfolding of Rhoades’s work and provides revelatory interpretations of his large and intricate installations. Rhoades’s art has its roots in the late 1980s and early 1990s L.A. scene fostered by Richard Jackson and Paul McCarthy at the University of California, Los Angeles, at a time when the Southern Californian Performance scene in general had begun to open itself up to international exhibitions and the art market. Like his predecessors, Rhoades included performative elements in his installations and produced epic thematic cycles, drawing on mass culture to develop a dense weave of images and forms. This is the first comprehensive study of Rhoades’s vertiginously sprawling oeuvre.

Jason Rhoades: Collector's Choice Vol. 9

This long-overdue first English-language monograph brings together an astonishing group of paintings that span the course of German painter Konrad Klapheck's six-decade-long career—from his painterly investigations of technological machines and everyday objects such as typewriters, sewing machines and ventilators to his more recent figurative work. 

Klapheck's early paintings employ subtle anthropomorphization and are charged with psychological, social, and political meaning. A telephone, for example, takes on a playful, eroticized quality in one canvas, while a typewriter becomes a menacing object evocative of brute power in another. An artist's artist, Klapheck has never painted according to fashions dictated by the art world; he is a painter guided by his own obsessions. However, in their surprising combination of deadpan depiction and evocative playfulness, Klapheck's canvases forge an important link in twentieth-century art, melding elements from Surrealism and Pop art with a singular painterly sensibility.

Konrad Klapheck: Paintings from 1955 to 1998

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