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

Juan Vicente Aliaga

Ulrich Loock

Andrei Platonov

Hans Rudolf Reust

Nancy Spector

Luc Tuymans

Texts by Juan Vicente Aliaga, Ulrich Loock, Andrei Platonov, Hans Rudolf Reust, Nancy Spector, and Luc Tuymans

In 1996, Phaidon released one of the important early publications on Luc Tuymans in its critically acclaimed ‘Contemporary Artist Series,’ which has now become a collector’s item. Re-published in 2003 and still kept in print, the revised and expanded edition added over 100 pages and included new artist’s writings and an expansive illustrated chronology. Available in paperback, this edition has over 260 pages and approximately 300 illustrations (250 in color).

, “Amongst other recently published monographs, the revised and enlarged edition of Phaidon’s 

…is opportune as it is just in time for his major show at Tate Modern in the Summer of 2004. Indeed Tate will find it difficult to match the breadth and scale of this book in any exhibition catalogue it may choose to produce. Tuymans is rapidly gaining groung as the successor to Gerhard Richter as the History Painter of the late 20th Century, and this book, which amounts to a catalogue raisonné as nearly every one of his paintings is reproduced, goes some way towards confirming his reputation.”

Denise Blake Oleksijczuk

Nick Blomley

Jeff Derksen

Reid Shier

Neil Smith

Jeff Sommers

Edited by Reid Shier. Texts by Denise Blake Oleksijczuk, Nick Blomley, Jeff Derksen, Neil Smith, and Jeff Sommers

This beautifully designed catalogue provides an in-depth look at Stan Douglas’s monumental photograph 

, which depicts Vancouver’s contested south side of 100 West Hastings. Published to accompany the artist’s 2002 solo show at the Contemporary Art Gallery, Vancouver, the exhibition presented his film installation, 

, alongside a suite of related photographs including 

. Co-winner of the City of Vancouver Book Prize in 2003, this publication also includes a removable color poster of the work.

Stan Douglas: Every Building on 100 West Hastings

Philip-Lorca diCorcia: Heads, Steidl, 2001

Philip-Lorca diCorcia: Heads

Bruce Wagner

Born and raised in Mississippi and Tennessee, William Eggleston began taking pictures during the 1960s after seeing Henri Cartier-Bresson’s 

. In 1966 he changed from black-and-white to color film, perhaps to make the medium more his own and less that of his esteemed predecessor. John Sarkowski, when he was curator of photography at the Museum of Modern Art, called Eggleston the ‘first color photographer,’ and the world in which we consider a color photograph as art has changed because of him.

William Eggleston: 2¼

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

Lisa Yuskavage, 2020. Photo by Jason Schmidt

Claudia Gould

Marcia B. Hall

Texts by Marcia B. Hall and Katy Siegel. Interview with the artist by Claudia Gould

Published on the occasion of the artist’s first solo museum survey at the Institute of Contemporary Art, Philadelphia, in 2000-2001, the exhibition showcased over fifty-five works, including a number of large-scale paintings, a series of hydrocal-cast figurines, and a selection of supporting small paintings, monotypes, and works on paper. This fully illustrated catalogue features texts by professor Marcia B. Hall and art critic Katy Siegel as well as an interview with the artist by the exhibition’s curator and ICA director Claudia Gould. This catalogue is out-of-print, making it a must-have for any collector.

Lisa Yuskavage (ICA)

Peter Poplaski

 is a concise and beautifully designed overview of Crumb’s remarkable career, presented in chronological order. The 250-page volume compiles material from five decades of work and features hundreds of drawings, illustrations, paintings, and covers as well as rare photographs of the artist and never-seen-before sketchbook work. Each of the 15 chapters is introduced by Crumb who contributes handwritten autobiographical anecdotes. It is a must-have for any Crumb collector.

Out of stock

The R. Crumb Coffee Table Art Book

Richard Serra

One of the most important sculptors of this century, Richard Serra has been a spokesman on the nature and status of art in our day. Best known for site-specific works in steel, Serra has much to say about the relation of sculpture to place, whether urban, natural, or architectural, and about the nature of art itself, whether political, decorative, or personal. In interviews with writers including Douglas and Davis Sylvester, he discusses specific installations and offers insights into his approach to the problem each presents. Interviews by Peter Eisenman and Alan Colquhoun elicit Serra’s thoughts on the relation of architecture to contemporary sculpture, a primary component in his own work. From essays like “Extended Notes from Sight Point Road” to Serra’s extended commentary on the 

 fiasco, the pieces in this volume comprise a document of one artist’s engagement with the practical, philosophical, and political problems of art.

Richard Serra: Writings/Interviews

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

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

Texts by On Kawara, Makoto Oda, and Tadashi Yokoyama

A scarce catalogue on Kawara's previously unstudied five-year stay in Tokyo, where he was part of influential avant-garde art student associations and wrote many pieces of art criticism. His violent and grotesque imagery from this period is in stark contrast to his streamlined conceptual 

series (1953-54; Tokyo National Museum of Modern Art), Events in a Warehouse and a number of figurative paintings and drawings executed in Japan.There are two essays, in both Japanese and English, "The History of an Odd Generation" by Makoto Oda, and "At the Junction of Time and Space: On Kawara in the 1950s" by Tadashi Yokoyama. The latter half of this book, alluding to his 

 series, is a collection of newspaper headlines from 1952 to 1956 in both languages, printed on newsprint.

On Kawara 1952-1956, Tokyo

Preface by Nicholas Fox Weber. Text by Kelly Feeney

This catalogue for a traveling exhibition considers the working drawings and spontaneous studies of Josef Albers, beginning with the landscapes and figure studies he created before enrolling at the Bauhaus, to abstractions inspired by archeological sites in Mexico, to color studies for his famous 

 paintings. An essay by the curator Kelly Feeney notes important influences and explores the development of Albers’s “seeing.”

Out of print

Josef Albers: Works on Paper

Portraits. Luc Tuymans

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David Zwirner is an art gallery with locations in New York, Los Angeles, London, Paris and Hong Kong. We present physical and online exhibitions, podcasts, books, and more.