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?

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

In 2007, Thomas Ruff completed his monumental 

 series in which he explored the distribution and reception of images in the digital age. Starting with images he culled primarily from the Web, Ruff enlarged them to a gigantic scale, which exaggerates the pixel patterns until they become sublime geometric displays of color. Many of Ruff’s works in the series focus on idyllic, seemingly untouched landscapes, and conversely, scenes of war, and nature disturbed by human manipulation. Taken together, these masterworks create an encyclopedic compendium of contemporary visual culture that also actively engages the history of landscape painting. A fittingly deluxe and oversized volume, 

 is the first monograph dedicated exclusively to the publication of Ruff’s remarkable series. Also included is an essay by Bennett Simpson, Associate Curator at the Museum of Contemporary Art, Los Angeles.

Thomas Ruff: jpegs

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

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

David Adjaye

Carol Becker

Peter Doig

Okwui Enwezor

Thelma Golden

Cameron Shaw

Kara Walker

Forward by Peter Doig. Texts by David Adjaye, Carol Becker, Okwui Enwezor, Cameron Shaw, and Kara Walker. Interview with the artist by Thelma Golden

Chris Ofili’s intricately constructed works, combining beadlike dots of paint, collaged images from popular media, and elephant dung, create a unique iconography that marries African artistic and ritual practices with Western art historical traditions and contemporary hip-hop culture. This beautifully designed book, made in close collaboration with the artist, is the first to examine Ofili’s artistic development and surveys his work in watercolor, graphite drawing, and sculpture. Literary and historical parallels from a formidable list of contributors explore the ways through which the artist has grasped his times with a palpable sense of history.

Chris Ofili

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.

Out of stock

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

Raoul De Keyser, 2009. Photo by Christophe Vander Eecken

Eric Suchère

Jean-Charles Vergne

Texts by Eric Suchère and Jean-Charles Vergne

 was published on the occasion of the artist’s solo exhibition at the Fonds Régional d’Art Contemporain Auvergne in Clermont-Ferrand, France, in 2008. This fully illustrated catalogue features forty-six paintings of which thirteen were on view at FRAC Auvergne. Also included in this bilingual catalogue (French and English) are texts by Jean-Charles Vergne, Director of FRAC Auvergne, and poet Eric Suchère.

Raoul De Keyser

Cornelia H. Butler

Lisa Gabrielle Mark

Matthew Monahan

Texts by Cornelia H. Butler, Richard Shiff, Matthew Monahan, and Lisa Gabrielle Mark

In her expressionistic drawings and paintings of the last three decades, acclaimed South African artist Marlene Dumas has focused on the human figure, probing themes of love, desire, despair, and confusion in order to slyly critique social and political attitudes toward women, children, people of color, and others who have historically been victimized. From her evocative portraits, based on photographs of friends and family as well as figures culled from printed pornography, to her large-scale images highlighting charged relationships within groups, Dumas’s work explores the contradictions behind the physical reality of the body, merging acute social commentary with personal experience and art-historical antecedent to create unsettling and ambiguous psychological statements.

Accompanying Dumas’s first major mid-career survey in the U.S., with stops in three major American cities, this substantial, fully-illustrated publication features a newly commissioned essay by renowned scholar Richard Shiff, placing the artist’s work in relation to both American figurative painting since the 1980s and Abstract Expressionism. The book also includes curator Cornelia H. Butler’s examination of Dumas’s photographic sources and shorter texts by Lisa Gabrielle Mark and Matthew Monahan. Writings by the artist, as well as an extensive illustrated exhibition history and bibliography, complete this comprehensive examination of the work of one of the most thought-provoking artists working today.

Marlene Dumas: Measuring Your Own Grave

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

Jeffrey Weiss

This publication documents a 2008 exhibition held at Zwirner & Wirth in which the gallery restaged the seminal exhibition of Dan Flavin’s fluorescent light sculptures that took place in 1964 at Richard Bellamy’s influential Green Gallery on West 57th Street, New York (

The Green Gallery exhibition was groundbreaking not only in terms of its presentation of radically innovative work that used commercially-available, colored fluorescent light, but also because it marked a turning-point in Flavin’s career. While the artist had previously exhibited a series of hand-made, painted wood constructions with lighting elements affixed to them (known as the “icons”), he began creating works made with fluorescent light alone in 1963. The Green Gallery show was the first exhibition composed entirely of fluorescent lights, and thus marked the development of the minimalist language of illumination that would characterize Flavin’s work until his death in 1996.

This catalogue includes 13 plates and features an essay by scholar and curator Jeffrey Weiss; statements by Sonja Flavin, Dan Graham, Dorothea Rockburne, Barbara Rose, James Rosenquist, and Brydon Smith; excerpts from Flavin’s journals; and archival photographs and reviews of the original Green Gallery exhibition.

Dan Flavin: The 1964 Green Gallery Exhibition

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

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

Ervin Laszlo

Takafumi Matsui

Charles Wylie

Texts by Ervin Laszlo, Takafumi Matsui, and Charles Wylie

Since the mid-1960s, On Kawara (b. 1933) has objectively recorded his existence through everyday numbers, words, and found images. This handsomely designed and illustrated book presents works selected by the artist from throughout his illustrious career, including paintings made at the time of the 1969 moon landings, other large-scale paintings, a 100 Years Calendar, and a vast array of his own books that chronicle his extensive travels, acquaintances, and personal readings.

The book features a translation of an essay on the Apollo space mission and its impact on human consciousness by Takafumi Matsui; a chapter from Ervin Laszlo’s 

, which presents theories of understanding possible connections between mind and matter; and a new essay by Charles Wylie that discusses the specifics of Kawara’s corresponding installation at the Dallas Museum of Art and Kawara’s contribution to and divergence from the main currents of art practice in the past five decades.

On Kawara: 10 Tableaux and 16,952 Pages

One of the seminal artists of contemporary photography, Philip-Lorca diCorcia produces work that exists on a wide spectrum of fictionalized documentary. Yet a thematic and conceptual unity, most often realized in serial form and particularly suited to monograph format marks each series in his oeuvre.

, diCorcia effectively inverts his own tendency: the monograph is now the work itself. The sheer volume of material, which spans over 20 years of personal and artistic creation, shifts notions of context, narrative, and individual perception.
Flipping through the pages of 

 is not so much a retrospective or summation of the artist's life as it is an exercise in the construction of memory. An unwashed pan soaking in the sink precedes an unknown woman resembling an odalisque; the familiar linoleum aisles of a generic supermarket give way to a verdant swatch of lawn. These images are bothalien and deeply familiar, and just as one moment in our lives may recall another, these photos echo among one another, within the book, within the canon of diCorcia's work, and within our personal experience. The Polaroid proves to be the perfect souvenir unique and subject to reinterpretation, like memory itself.

Philip-Lorca diCorcia: Thousand

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

At just over 430 pages, this monumental and beautifully designed new monograph presents the most comprehensive view of the London-based photographer Wolfgang Tillmans’s work to date, featuring many photographic works and abstract “paintings” from the past five years that have never been published before.

When he is working on an exhibition or a publication, Tillmans displays and combines pictures on long tables in his studio so that the images are “held in position only by their own weight. The method of laying out two-dimensional objects on a table produces ‘clarity’ and allows perspective. A new text emerges through the combination of intrinsically different pieces of paper. The issues dealt with on these tables do not claim to be fully comprehensive and the items chosen do not profess to be definitive examples of their kind. Rather, this multivocal process allows me to amplify voices I feel need strengthening, contrasting them with their opposites and their neighbors.” This method has become a concept. In Manual the artist combines his own photographs, painterly works and texts together with already existing newspaper articles to create an associative, comprehensive view. The material is condensed into a complex artistic dialogue with various social and political themes, like AIDS or the question of absolute truth, which the artist has been exploring for years.

Wolfgang Tillmans: Manual

Denise Bratton

Lynne Tillman

Edited by Denise Bratton. Text by Lynne Tillman

This concise and beautiful exhibition catalogue features arresting, colorful, Rorschach Test-like photograms of flowers by the esteemed Los Angeles-based conceptual photographer, James Welling. For this series, Welling placed the blossoms of a common southern California plant on sheets of 8x10 film and exposed them to light. The negatives were then projected onto special photo paper through a color mural enlarger and color filters, to produce the dramatic, spectral, almost sun- or moon-dappled images reproduced here. Currently a professor of fine art at UCLA, Welling studied at CalArts in the early 1970s. Welling was the subject of a midcareer retrospective at the Wexner Center for the Arts in 2000, which traveled to the Museum of Contemporary Art in Los Angeles.

James Welling: Flowers

Edited by Juliane Joan Rebentisch. Texts by Vanessa J. Müller, Nicolaus Schafhausen, Liam Gillick

For more than 30 years, the German artist Isa Genzken (born 1948) has been amassing a body of work in sculpture, installation, photography, collage and film. As one of Germany’s brightest stars in the art world, she was well suited to represent her country at the Venice Biennale in 2007, an occasion which this volume commemorates. The title of this book and of her installation at the German pavilion plays with the word’s associations as a global and globally contested resource, through a series of sculptural installations invoking in particular America’s dependence on oil.

German Pavilion in Venice 2007

Isa Genzken: Oil

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

Interviews by the artist with Ruben Aberjil, Albert Agazarian, Yael Dayan, Jean Fisher, Rima Hamami, Amira Hass, Nazmi Jobeh, Yael Lerer, Eyal Sivan, Michael Warschawski, and Eyal Weizman

Available in hardcover, this catalogue was published on the occasion of Francis Alÿs’s first solo exhibition at David Zwirner in 2007. The exhibition presented a film by Alÿs in collaboration with Julien Devaux alongside a map of the artist’s journey, photocollages, paintings, drawings, and a group of sculptures. The film shows Alÿs carrying a dripping can of green paint along the armistice boundary that Moshe Dayan marked on a map with green pencil after Israel’s War of Independence ended in 1948. It questions the physicality and cultural relevance of the Green Line, its function as a social and spiritual division in the city of Jerusalem, and its role in the Arab-Israeli conflict. This trilingual exhibition catalogue (English, Hebrew, and Arabic) features interviews conducted by Alÿs with eleven activists, academics, and journalists. Also included are a fold-out map and DVD of the film with options to listen to the recorded interviews.

Out of print

Francis Alÿs: Sometimes doing something poetic can become political and sometimes doing something political can become poetic

This fully illustrated catalogue was published on the occasion of the artist’s third solo exhibition of thirty recent paintings at David Zwirner in 2006 and includes a text by artist Wendy White.

Raoul De Keyser: Recent Work

Josef Helfenstein

Elizabeth Hutton Turner

Jenny Anger

Vivian Endicott Barnett

Michael Baumgartner

Bradford Epley

Christa Haiml

Charles W. Haxthausen

Edited by Josef Helfenstein and Elizabeth Hutton Turner

 accompanies explores the reasons for Paul Klee's enthusiastic reception in the United States, especially during the 1930s and 1940s. While the artist was targeted in Hitler's campaign against "Degenerate Art" and the European market for his work collapsed in 1933, his reputation grew among several key American collectors and museum curators, several of whom laid the groundwork for Klee's later success in the US. These critical early figures included the dealers Galka Scheyer and J.B. Neumann, the collectors Katherine Dreier and Walter and Louise Arensberg, and the founder of the Museum of Modern Art, Alfred Barr. Jr. The publication presents an impressive selection of Klee's finest "American" works from that period, including both paintings and drawings.

Exhibition schedule:· Neue Galerie New York, March 10-May 21, 2006 · The Philips Collection, Washington, D.C., June 17-September 10, 2006 The Menil Collection, Houston, October 6, 2006-January 14, 2007

Klee and America

Benjamin H. D. Buchloh

Manfred Hermes

Texts by Benjamin H.D. Buchloh and Manfred Hermes

For more than thirty years, Isa Genzken has been developing a versatile oeuvre, continually extending it by adding new aspects. Her settings, her unusual combinations of materials, and the fragile but monumental character of her constructions reflect the surrounding world and the fragility of human existence. Her work—which includes sculptures and installations as well as photography, collage, and film—explores the space between public claims and private artistic autonomy, thus defining an interface where the personal and the universal meet. The formal and conceptual rigor at the root of Isa Genzken’s approach is tempered by unrestricted freedom, producing works that can be interpreted and experienced on very different levels. A central role is played by the choice and combination of materials with different connotations which the artist finds at home depots, builders’ suppliers, and department stores: whereas in the past Genzken used wood, plaster, epoxy resins, and above all concrete, the material of Modernism, her main materials today are plastic, synthetics, and a wide range of mirrors, as well as everyday items and consumer goods such as chairs—design classics alongside cheap camping chairs—garments, and plastic dolls and animals.

For her exhibition in the Hauptraum at the Secession, Isa Genzken has devised an installation with new sculptures and pieces on the wall: wheelchairs and seats draped in various textiles, ribbons, and sheets, walking frames, anthropomorphic figures, and wall-filling collages made from mirrors, photos, and adhesive tape create a carefully arranged image. Warholesque baby dolls with their outsize glasses look like prematurely aged children or, conversely, like infantilized adults, waiting under tattered parasols on a Hollywood set for shooting to recommence. But less than this bizarre scene, what is disconcerting here is the cool precision with which, for all the piece’s figurativeness, no story is told. Dolls and animals form heterogeneous abstract surfaces, but they are not deployed to narrative ends, and neither are other materials such as the mirrors, plastic sheeting, or the paint dripped or sprayed over many of the sculptures.

The new works relate to Genzken’s recent 

 series. But while these works were presented on plinths at eye level, at the Secession, the entire space turns into a kind of plinth and the visitors become part of this scenario that is both beguilingly beautiful and disturbing at the same time. The works turn an imaginary inner space outwards, but rather than being something merely invented, the space always refers to the real—a comparative moment against which all the pieces can be measured. In an interview with Wolfgang Tillmans, Isa Genzken describes the way she thinks a sculpture should look: “It must have a certain relation to reality. I mean, not airy-fairy, let alone fabricated, so aloof and polite. [...] Rather, a sculpture is really a photo – although it can be shifted, it must still always have an aspect that reality has too.”

Isa Genzken

An installation view of Juan Muñoz's work, Conversation Piece, Dublin, in 1994.

Louise Neri

This catalogue accompanies the exhibition at Zwirner & Wirth:


Juan Muñoz: Selected Works

“The disparate photographs assembled here were made over the course of twenty years. None of them were originally intended to be used in this book. By ordering and shaping them I tried to investigate the possibilities of narrative both within a single image and especially in relation to the other photographs. 

 is an attempt to discover the possibilities of meaning in the interaction of seemingly unrelated images in the hope that content can constantly mutate according to both the external and internal condition of the viewer, but remain meaningful because of it’s inherent, but latent content. The conscious and subconscious decisions made in editing the photographs is the real work of 

Philip-Lorca diCorcia: A Storybook Life

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