Brenda Danilowitz

Magdalena Droste

María Minera

Priyesh Mistry

Jennifer Reynolds-Kaye

T’ai Smith

A long-overdue reassessment of one of the most important and influential woman artists working at midcentury.

Anni Albers (1899–1994) was a German textile designer, weaver, and printmaker, and among the leading pioneers of 20th-century modernism. Although she has heavily influenced generations of artists and designers, her contribution to modernist art history has been comparatively overlooked, especially in relation to that of her husband, Josef. In this groundbreaking and beautifully illustrated volume, Albers’s most important works are examined to fully explore and redefine her contribution to 20th-century art and design and highlight her significance as an artist in her own right.

Featured works—from her early activity at the Bauhaus as well as from her time at Black Mountain College, and spanning her entire fruitful career—include wall hangings, designs for commercial use, drawings and studies, jewelry, and prints. Essays by international experts focus on key works and themes, relate aspects of Albers’s practice to her seminal texts 

, and identify broader contextual material, including examples of the Andean textiles that Albers collected and in which she found inspiration for her understanding of woven thread as a form of language. Illuminating Albers’s skill as a weaver, her material awareness, and her deep understanding of art and design, this publication celebrates an artist of enormous importance and showcases the timeless nature of her creativity.

Anni Albers

Hillary Chute

By Aline Kominsky-Crumb. Foreword by Hillary Chute

The early work of the pioneering feminist cartoonist plus her acclaimed new story "Dream House".

Aline Kominsky-Crumb immediately made her mark in the Bay Area’s underground comix scene with unabashedly raw, dirty, unfiltered comics chronicling the thoughts and desires of a woman coming of age in the 60s. Kominsky-Crumb didn’t worry about self-flattery. In fact, her darkest secrets and deepest insecurities were all the more fodder for groundbreaking stories. Her exaggerated comix alter-ego, Bunch, is self-destructive and grotesque but crackles with the self-deprecating humor and honesty of a cartoonist confident in the story she wants to tell.

Collecting comics from the 1970s through today, 

 is shockingly prescient while still being an authentic story of its era. Kominsky-Crumb was ahead of her time in juxtaposing the contradictory nature of female sexuality with a proud, complicated feminism. Most importantly, she does so without apology.

Kominsky-Crumb traces her steps from a Beatles loving fangirl, East Village groupie, an adult grappling with her childhood, an 80s housewife and mother, to a new thirty-page story "Dream House" that looks back on her childhood, forty years later. One of the most famous and idiosyncratic cartoonists of our times, 

 will be Kominsky-Crumb’s only solo-authored book in print. Originally published as a book in 1990, this new expanded edition follows Kominsky-Crumb to the present, including a foreword penned by noted comics scholar Hillary Chute.

Aline Kominsky-Crumb: Love That Bunch

Michael Rooks

Allegra Pesenti

Lawrence Rinder

Robert Storr

Randall Suffolk

Text by Michael Rooks. Contributions by Allegra Pesenti, Lawrence R. Rinder, and Robert Storr. Foreword by Randall Suffolk

 is the first major exhibition in the United States of work by the late American artist Al Taylor and represents nearly two decades of his career with sculptures, drawings, and prints that together reveal the polyglot nature of Taylor’s visual language and the reciprocity in his practice among drawing, constructing objects, printmaking, and observing. Works produced in one medium triggered the continuation of Taylor’s thought process in another or led to separate but related avenues of exploration across media. This mutual exchange resulted in elusive images and objects that offer propositions that often seem more scientific in nature than artistic, engendered by a process through which Taylor sought to realize works that might “create their own logic.” His voracious and omnivorous curiosity about the most quotidian things transformed these subjects into hypotheses for a series of unlikely and humorous observations grounded in the physicality of the real world. The fully illustrated catalogue includes essays by Michael Rooks, the High Museum’s Wieland Family Curator of Modern and Contemporary Art; Allegra Pesenti, Associate Director of the Hammer Museum and Senior Curator of UCLA Grunwald Center for the Graphic Arts; Lawrence Rinder, Director of the Berkeley Art Museum and Pacific Film Archive; and Robert Storr, artist, critic, curator, and professor of painting and printmaking at Yale University.

Al Taylor: What Are You Looking At?

Foreword by Bartomeu Marí. Texts by Kim Inhye, Oh Gwangsu, Kim Hyunsook, and Choi Jongtae

This catalogue is published with an exhibition of work by Korean artist Yun Hyong-keun at the National Museum of Modern and Contemporary Art in Seoul. One of the leading figures of the Dansaekhwa art movement, Yun’s paintings are inspired by nature, combining a palette of umber and ultramarine (the colors of earth and water) to create rectilinear compositions which are reminiscent of traditional ink-wash paintings. The investigation into flatness, materiality, and meditation in art-making is a consistent focus of his work, and his paintings characterize the elements of tactility, spirituality, and performance common to first-generation Dansaekwha artists.

Yun Hyong-keun (MMCA)

Jarrett Earnest

The most comprehensive portrait of art criticism ever assembled, as told by the leading writers of our time.

In the last fifty years, art criticism has flourished as never before. Moving from niche to mainstream, it is now widely taught at universities, practiced in newspapers, magazines, and online, and has become the subject of debate by readers, writers, and artists worldwide.

Equal parts oral history and analysis of craft, 

 offers an unprecedented overview of American art writing. These thirty in-depth conversations chart the role of the critic as it has evolved from the 1960s to today, providing an invaluable resource for aspiring artists and writers alike. John Ashbery recalls finding Rimbaud’s poetry through his first gay crush at sixteen; Rosalind Krauss remembers stealing the design of October from Massimo Vignelli; Paul Chaat Smith details his early days with Jimmy Durham in the American Indian Movement; Dave Hickey talks about writing country songs with Waylon Jennings; Michele Wallace relives her late-night and early-morning interviews with James Baldwin; Lucy Lippard describes confronting Clement Greenberg at a lecture; Eileen Myles asserts her belief that her negative review incited the Women’s Action Coalition; and Fred Moten recounts falling in love with Renoir while at Harvard.

Jarrett Earnest’s wide-ranging conversations with critics, historians, journalists, novelists, poets, and theorists—each of whom approach the subject from unique positions—illustrate different ways of writing, thinking, and looking at art.

 Hilton Als, John Ashbery, Bill Berkson, Yve-Alain Bois, Huey Copeland, Holland Cotter, Douglas Crimp, Darby English, Hal Foster, Michael Fried, Thyrza Nichols Goodeve, Dave Hickey, Siri Hustvedt, Kellie Jones, Chris Kraus, Rosalind Krauss, Lucy Lippard, Fred Moten, Eileen Myles, Molly Nesbit, Jed Perl, Barbara Rose, Jerry Saltz, Peter Schjeldahl, Barry Schwabsky, Paul Chaat Smith, Roberta Smith, Lynne Tillman, Michele Wallace, and John Yau.

Interviews with Art Critics

What it Means to Write About Art 

Langston Hughes

Sherry Turner DeCarava

Photographs by Roy DeCarava. Text by Langston Hughes. Afterword by Sherry Turner DeCarava

“The people in these photographs had no walls up. They just accepted me and permitted me to take their photographs without any self-consciousness.” —Roy DeCarava

 is a “poem” about ordinary people, about teenagers around a jukebox, about children at an open fire hydrant, about riding the subway alone at night, about picket lines and artist work spaces. This renowned, life-affirming collaboration between artist Roy DeCarava and writer Langston Hughes honors in words and pictures what the authors saw, knew, and felt deeply about life in their city.

Hughes’s heart-warming description of Harlem in the late 1940s and early 1950s is seen through the eyes of one grandmother, Sister Mary Bradley. As she guides the reader through the lives of those around her, we imagine the babies born, families in struggle, children yet flourishing. We experience the sights and sounds of Harlem as seen through her learned and worldly eyes, expressed here through Hughes’s poetic prose. As she states, “I done got my feet caught in the sweet flypaper of life and I’ll be dogged if I want to get loose.” DeCarava’s photographs lay open a world of sense and feeling that begins with his perception and vision. The ruminations go beyond the limit of simple observation and contend with deeper meanings to reveal these individuals as subjects worthy of art. While Hughes states “We’ve had so many books about how bad life is, maybe it’s time to have one showing how good it is,” the photographs bring us back to this lively dialogue and a complex reality, to a resolution that stands with the optimism of the photographic medium and the certainty of DeCarava’s artistic moment.

In 1952 DeCarava became the first African American photographer to win a John Simon Guggenheim Memorial Fellowship. The one-year grant enabled DeCarava to focus full time on the photography he had been creating since the mid-1940s and to complete a project that would eventually result in 

, a moving, photo-poetic work in the urban setting of Harlem. DeCarava compiled a set of images from which Hughes chose 141 and adeptly supplied a fictive narration, reflecting on life in that city-within-a-city. First published in 1955, the book, widely considered a classic of photographic visual literature, was reprinted by public demand several times. This fourth printing, the Heritage Edition, is the first authorized English-language edition since 1983 and includes an afterword by Sherry Turner DeCarava tracing the history and ongoing importance of this book.

The Sweet Flypaper of Life (hardcover)

The Sweet Flypaper of Life (softcover)

Christian Viveros-Fauné

In an increasingly polarized world, with shifting and extreme politics, 

 illustrates artists at the forefront of political and social resistance. Highlighting different moments of crisis and how these are reflected and preserved through crucial artworks, it also asks how to make art in the age of Brexit, Trump, and the refugee and climate crises.

Social Forms: A Short History of Political Art

, renowned critic, curator, and writer Christian Viveros-Fauné has picked fifty representative artworks—from Francisco de Goya’s 

 (1993)—that give voice to some of modern art’s strongest calls to political action. In accessible and witty entries on each piece, Viveros-Fauné paints a picture of the context in which each work was created, the artist’s background, and the historical impact of each contribution. At times artists create projects that subvert existing power structures; at other moments they make artwork so powerful it challenges the very fabric of society. Whether it is Picasso’s 

 and its place at the 1937 Worlds Fair, or Jenny Holzer’s 

 (1977–1979), which still stop us in our tracks, this book tells the story behind some of the most important and unexpected encounters between artworks and the real worlds they engage with.


Never professing to be a definitive history of political art, 

 delivers a unique and compelling portrait of how artists during the last 150 years have dealt with changing political systems, the violence of modern warfare, the rise of consumer culture worldwide, the prevalence of inequality and racism, and the challenges of technology.

Social Forms: A Short History of Political Art 

Alison Gingeras

Texts by Fernando Francés and Alison Gingera

The CAC Málaga presents the first exhibition in Spain by Rose Wylie. 

, curated by Fernando Francés, brings together twenty-nine works by the English artist, some of them being shown for the first time. Wylie, born in the 1930s, surprises and captivates us with the energy, vivacity, and freshness of her work. Her creativity is channelled through her impressions and her memory. On occasions, Wylie leaves aside her brushes to paint directly on the canvas with her hands, taking inspiration from different sources, including history, film, comics, the news, anecdotes, celebrities, and sports.

Rose Wylie: Hullo Hullo...

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

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

Victor Wang

Spotlight Series

The Colombian-born, London-based artist Oscar Murillo is known for an inventive practice that encompasses paintings, works on paper, installations, actions, live events, collaborative projects, and videos. Taken as a whole, his body of work demonstrates a sustained emphasis on the notion of cultural exchange and the multiple ways in which ideas, languages, and even everyday items are displaced, circulated, and increasingly intermingled.

In recent years, Murillo has traveled extensively throughout the world to research and prepare exhibitions and other projects, making works both in the studio and in unexpected locations. As a result, airplanes, which are able to move more or less freely and without regard for borders, and the contemplative isolation afforded by these long journeys, have become an important site of production for the artist. His large-scale canvases, in turn, are a synthesis in both form and content of his experiences. By combining personal allusions with more universally recognizable references, Murillo aligns these paintings with preceding art-historical movements that conceptualized art not as a hermetic language but rather as a critical tool for interpreting a world outside of itself—comprising, as he notes, “an accumulation of thought, gesture, discourse, action, and motion.”

Through his command of gesture, form, and spatial organization, Murillo is able to convey a complex and nuanced understanding of the specific conditions of globalization and its attendant state of flux, while nevertheless maintaining the universality of human experience within this milieu. Published on the occasion of the artist’s exhibition of paintings and works on paper at David Zwirner, Hong Kong, in 2018, 

 is accompanied by an essay by curator and writer Victor Wang, who attests to Murillo’s work as being guided by mobility. This publication is available in both 

 and bilingual English/traditional Chinese editions.

Oscar Murillo: the build-up of content and information (Bilingual)

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

Portrait of Michaël Borremans. Photo by Alex Salinas

Michael Bracewell

The first in a series of small-format publications devoted to single bodies of work, 

 highlights Michaël Borremans’s new work, which features toddlers engaged in playful but mysterious acts with sinister overtones and insinuations of violence.

Known for his ability to recall classical painting, both through technical mastery and subject matter, Borremans’s depiction of the uncanny, the perhaps secret, the bizarre, often surprises, sometimes disturbs the viewer. In this series of work, children are presented alone or in groups against a studio-like backdrop that negates time and space, while underlining the theatrical atmosphere and artifice that exists throughout Borremans’s recent work. Reminiscent of cherubs in Renaissance paintings, the toddlers appear as allegories of the human condition, their archetypal innocence contrasted with their suggested deviousness.

In his accompanying essay, critic and curator Michael Bracewell takes an in-depth look into specific paintings, tackling both the highly charged subject matter and the masterly command of the medium. He writes, “The art of Michaël Borremans seems always to have been predicated on a confluence of enigma, ambiguity, and painterly poetics—accosting beauty with strangeness; making historic Romanticism subjugate to mysterious controlling forces that are neither crudely malevolent nor necessarily benign.” Published on the occasion of Borremans’s eponymous exhibition at David Zwirner in Hong Kong, this publication is available in both 

 and bilingual English/traditional Chinese editions.

Michaël Borremans: Fire from the Sun (Bilingual)

In his accompanying essay, critic and curator Michael Bracewell takes an in-depth look into specific paintings, tackling both the highly charged subject matter and the masterly command of the medium. He writes, “The art of Michaël Borremans seems always to have been predicated on a confluence of enigma, ambiguity, and painterly poetics—accosting beauty with strangeness; making historic Romanticism subjugate to mysterious controlling forces that are neither crudely malevolent nor necessarily benign.” Published on the occasion of Borremans’s eponymous exhibition at David Zwirner in Hong Kong, this publication is available in both English-only and 

Michaël Borremans: Fire from the Sun

Texts by Daniel Garza Usabiaga and Federica Zanco. Conversation with Roger Duffy, Amavong Panya, and Lilian Tone by Edward Vazquez

In 2016, sculptures by Fred Sandback (1943–2003) were installed in the Casa Luis Barragán, the Casa Antonio Gálvez, Cuadra San Cristóbal, and the Casa Gilardi of Luis Barragán (1902–1988). The American minimalist and the Pritzker Prize-winning Mexican architect share a common interest in the properties of light and color; the remarkable interplay between their works, documented in photographs, is presented for the first time in this publication, with essays by Barragán Foundation Director Federica Zanco and curator Daniel Garza Usabiaga, as well as a conversation between architect Roger Duffy, artist Amavong Panya, curator Lilian Tone, and author Edward Vazquez.

Luis Barragán/Fred Sandback: The Properties of Light

Portrait of Chris Ofili, 2017. Photo by Carlos Arias

Joshua Jelly-Schapiro

In 2017, Chris Ofili photographed chain-link fences throughout the island of Trinidad in order to explore notions of beauty, community, liberation, and constraint. This series of arresting images—“pocket photography,” as described by the artist—is the first body of photography ever published by Ofili. Through these entrancing black-and-white photographs, the artist engages with the diverse sources that inspired his critically acclaimed 

 exhibition at David Zwirner, New York in the fall of 2017.

Since moving to Trinidad in 2005, Ofili has continued to engage with the surrounding environment and culture, which has found its way into many of his colorful paintings. In these deceivingly simple black-and-white photographs, he captures a wide cross section of Trinidad as he highlights the encounter between natural and man-made settings, and the different aesthetic possibilities each brings out in the other. In focusing on a ubiquitous and seemingly unremarkable piece of equipment, Ofili is able to comment on our interactions with space and each other, using a near-universal subject as the fence slices the sky, melds into a tree, frames a basketball game, or reveals an opening.

In a new essay by the critically acclaimed author of 

Island People: The Caribbean and the World

 (2016), Joshua Jelly-Schapiro charts the history of chain-link fences; focusing on a selection of Ofili’s photographs, he then begins to explore what this imagery tells us about Trinidad in particular and the Caribbean as a whole. These two essays—one visual, the other literary—open onto a whole new set of interpretive possibilities for this groundbreaking artist.

Chris Ofili: Paradise Lost 

A detail from a work by Bridget Riley, titled Study for Measure for Measure Dark 2, dated 2019.

Portrait of Bridget Riley, 2021. Photo by Yuki Shima

Richard Shiff

The quest for discovery through looking is the driving force of Bridget Riley’s work, as she has written: “More than anything else I want my paintings to exist on their own terms. That is to say they must stealthily engage and disarm you. There the paintings hang, deceptively simple—telling no tales as it were—resisting, in a well-behaved way, all attempts to be questioned, probed or stared at and then, for those with open eyes, serenely disclosing some intimations of the splendors to which pure sight alone has the key.”

This publication unfolds along the lines of Riley’s 2018 exhibition at David Zwirner, London. Beginning with an exploration of black-and-white equilateral triangles, Riley leads the viewer into an awareness of the ways in which a surface—wall or canvas—can affect a seemingly simple form: the triangle. While she demonstrates these subtle changes, Riley manipulates this form by bending its sides. At first sight the viewer may experience this as a breaking apart, but as one continues to look, serpentine movements appear, or large shadowy triangles, which advance and recede. These paintings constantly reinvent themselves through looking.

Riley is revisiting and developing works which she initiated over fifty years ago, as is shown here by the inclusion of 

(1962/1965) in the exhibition. This diamond formation of discs, which graduates in tone from white to black and back again, offers a lead-in to her new body of work. In 

series, Riley recalls a group of subtly shaded colors used this time in discs. While the compositions remain fundamentally the same, the play of colors changes every time.

The exhibition ends with a surprisingly spacious wall painting that offers the viewer many delights, not least among them a dance of fugitive white lights. Here, Riley disarms the viewer, encouraging us once again in an adventure of discovery. In his essay, Richard Shiff explores Riley’s ability to give new life to basic forms as she invites the audience, any audience, to help participate in the painting.

Bridget Riley: Recent Paintings 2014–2017

A detail from a painting by Portia Zvavahera, titled This is where I travelled [3], dated 2020.

Portia Zvavahera, Ndirikukuona (I can see you), 2021

Design and layout of a monograph for Portia Zvavahera, which traces the Zimbabwean artist’s work from 2013 to early 2017, encompassing her major series I Can Feel It in My Eyes (2015) and What I See Beyond Feeling (2016). Generous reproductions of her paintings on canvas and paper are prefaced by an essay by Nomaduma Rosa Masilela.

Portia Zvavahera: I'm with You

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

This publication accompanies Fondation Beyeler’s survey on the great photographic innovator Wolfgang Tillmans (born 1968). Tillmans first made a name for himself in the early 1990s, with photographs that captured an entire generation and a youth culture of which he was part, and which are now iconic images of that era. However, he quickly expanded his focus, creating works with and without a camera, producing photographs printed as C-prints on photographic paper, as inkjet prints on paper, or as photocopies. Some of these photographs acquire a sculptural, objectlike quality. Tillmans has also developed new compositional and formal, anti-hierarchical ways of installing his pictures in spaces. This substantial, clothbound volume offers a comprehensive overview of his achievements.

Wolfgang Tillmans

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

Melissa Chiu

Alexander Dumbadze

Gloria Sutton

Miwako Tezuka

Texts by Melissa Chiu, Alexander Dumbadze, Gloria Sutton, and Miwako Tezuka

World-renowned Japanese artist Yayoi Kusama has worked in a variety of media, including painting, sculpture, performance art, and installation. Kusama’s iconic Infinity Mirror Rooms, which originated with 

 in 1965, situate viewers in kaleidoscopic spaces filled with multicolored lights or whimsical forms. These mirror-lined installations reflect endlessly, distorting rooms to project the illusion of infinite space. Over the years, the works have come to symbolize different modalities within the various contexts they have inhabited, from Kusama's “self-obliteration” in the Vietnam War era to her more harmonious aspirations in the present.

By examining her early unsettling installations alongside her more recent ethereal atmospheres, this volume aims to historicize the body of work amidst the resurgence of experiential practices within the global landscape of contemporary art. Generously illustrated, this publication invites readers to examine the series’ impact over the course of the artist’s career. Accompanying essays, an interview with the artist, and a scholarly chronology round out the book.

Yayoi Kusama: Infinity Mirrors

Sarah Suzuki

Ellen Weinstein

By Sarah Suzuki. Illustrations by Ellen Weinstein. Works of art by Yayoi Kusama

Growing up in the mountains of Japan, Yayoi Kusama dreamed of becoming an artist. One day, she had a vision in which the world and everything in it—the plants, the people, the sky—were covered in polka dots. She began to cover her paintings, drawings, sculptures, and even her body with dots. As she grew up, she traveled all around the world, from Tokyo to Seattle, New York to Venice, and brought her dots with her. Different people saw these dots in different ways—some thought they were tiny, like cells, and others imagined them enormous, like planets. Every year, Kusama sees more of the world, covering it with dots and offering people a way to experience it the way she does.

Written by Sarah Suzuki, a curator at The Museum of Modern Art, and featuring reproductions of Kusama’s instantly recognizable artworks, this colorful book tells the story of an artist whose work will not be complete until her dots cover the world, from here to infinity.

Yayoi Kusama: From Here to Infinity

Laura Hoptman

Udo Kultermann

Catherine Taft

Akira Tatehata

Texts by Akira Tatehata, Laura Hoptman, Udo Kultermann, and Catherine Taft

An updated edition of the acclaimed monograph, celebrating one of the most iconic and revolutionary artists of our time.

"Yayoi Kusama transcended the art world to become a fixture of popular culture, in a league with Andy Warhol, David Hockney, and Keith Haring." —

Kusama is internationally renowned for her groundbreaking work on themes such as infinity, self-image, sexuality, and compulsive repetition. A well-known name in the Manhattan scene of the 1960s, Kusama's subsequent work combined Psychedelia and Pop culture with patterning, often resulting in participatory installations and series of paintings. This revised and expanded edition of the 2000 monograph, has been augmented by an essay by Catherine Taft and a collection of new poems by the artist.

Revised and Expanded Edition

Yayoi Kusama

According to photographer Wolfgang Tillmans (born 1968), “for the chosen few, flying Concorde is apparently a glamorous but cramped and slightly boring routine while to watch it in air, landing or taking off is a strange and free spectacle, a super modern anachronism and an image of the desire to overcome time and distance through technology.” With no text other than the inner-front flap’s description, this fifth printing of Tillmans’s now iconic artist’s book (first published in 1997) consists of 62 color photographs of the Concorde airplane—taking off, landing or in flight, and sometimes as just a tiny, birdlike silhouette in the sky. The photographs speak of both the beauty and the environmental devastation produced by this fabled French airplane, both sides of which Tillmans captures in his casual yet formally elegant signature style.

Wolfgang Tillmans: Concorde

Mark Godfrey

Tom Holert

Since the early 1990s, Wolfgang Tillmans has established himself as one of the most exciting and innovative artists working today. The first photographer to win the Turner Prize (in 2000), his practice is characterized by constant investigation into the boundaries of the photographic medium and a preoccupation with the process of photography itself.

This new publication, accompanying an exhibition at Tate Modern, will examine Tillmans’s evolving practice showcasing his photography but also his video, digital slide projections, publications, and recorded music. Mark Godfrey gives an overarching view of Tillmans’s practice, from the physical materiality of the work, to space and installation, to his use of abstraction. Tom Holert focuses on Tillmans’s relationship with politics and society, with particular emphasis on events of the last 15 years and the way Tillmans uses images and methods of distribution to examine global concerns such as migration and identity politics.

The book is designed by the artist, and has a strong visual identity with a collectible feel. Photography and video stills are beautifully reproduced in full color while, in keeping with the artist’s non-hierarchical approach to media, documentary material will also be highlighted.

Wolfgang Tillmans: 2017

Phong Bui

Edited by Jarrett Earnest and Lucas Zwirner. Introduction and portraits by Phong Bui

 has been a platform for artists, academics, critics, poets, and writers in New York and abroad. The monthly journal’s continued appeal is due in large part to its diverse contributors, many of whom bring contrasting and often unexpected opinions to conversations about art and aesthetics. No other publication devotes as much space to the artist’s voice, allowing ideas to unfold and idiosyncrasies to emerge through open discussion.

Since its inception, cofounder and artistic director Phong Bui and the 

’s contributors have interviewed over four hundred artists for 

. This volume brings together for the first time a selection of sixty of the most influential and seminal interviews with artists ranging from Richard Serra and Brice Marden, to Alex Da Corte and House of Ladosha. While each interview is important in its own right, offering a perspective on the life and work of a specific artist, collectively they tell the story of a journal that has grown during one of the more diverse and surprising periods in visual art. There is no unified style or perspective; 

’s strength lies in its ability to include and champion difference.

Selected and coedited by Jarrett Earnest, a frequent 

 contributor, with Lucas Zwirner, the book includes an introduction to the project by Phong Bui as well as many of the hand-drawn portraits he has made of those he has interviewed over the years. This combination of verbal and visual profiles offers a rare and personal insight into contemporary visual culture.

 Vito Acconci, Ai Weiwei, Lynda Benglis, James Bishop, Chris Burden, Vija Celmins, Francesco Clemente, Bruce Conner, Alex Da Corte, Rosalyn Drexler, Keltie Ferris, Simone Forti, Andrea Fraser, LaToya Ruby Frazier, Suzan Frecon, Coco Fusco, Robert Gober, Leon Golub, Ron Gorchov, Michelle Grabner, Josephine Halvorson, Sheila Hicks, David Hockney, Roni Horn, House of Ladosha, Alfredo Jaar, Bill Jensen, Alex Katz, William Kentridge, Matvey Levenstein, Nalini Malani, Brice Marden, Chris Martin, Jonas Mekas, Shirin Neshat, Thomas Nozkowski, Lorraine O’Grady, Genesis Breyer P-Orridge, Joanna Pousette-Dart, Ernesto Pujol, Martin Puryear, Walid Raad, Dorothea Rockburne, Tim Rollins and K.O.S., Robert Ryman, Dana Schutz, Richard Serra, Shahzia Sikander, Nancy Spero, Hiroshi Sugimoto, Sarah Sze, Rirkrit Tiravanija, James Turrell, Richard Tuttle, Luc Tuymans, Kara Walker, Stanley Whitney, Jack Whitten, Yan Pei-Ming, and Lisa Yuskavage

Special thanks to Furthermore, a program of the J.M. Kaplan Fund, for their support of 

Artist Interviews from The Brooklyn Rail

Tell Me Something Good

Max Henry

Anna Kats

Benedikt Ledebur

Julie Ryan

Texts by Max Henry, Anna Kats, and Julie Ryan. Conversation with the artist by Benedikt Ledebur. Sonnets by Benedikt Ledebur

With a large body of work mainly comprising mixed-media paintings, Tamuna Sirbiladze was known for her distinctive style, which continually forged new terms between dichotomous relationships. Abstract and figurative, playful and serious, energetic and quiet, vibrant and muted, Sirbiladze’s work is characterized by both its intensity and flexibility.

Known for the speed at which she worked, there is a quality of immediacy in her paintings, as if they provide direct access to her imagination. This primacy is perhaps most evident in her gestural, improvisatory paintings made with oil sticks on unstretched, raw canvas, which purposely retain the appearance of being unfinished. “As an artist,” Sirbiladze writes, “I don’t want to control what the representation will be seen as.” This catalogue presents a careful selection of these oil stick works along with her other paintings—including her celebrated 

 (2012), which was made in dialogue with iconic works by Caravaggio, Giotto, Raphael, and Velazquez, as well as her later paintings focused on women’s bodies in intimate, underrepresented scenes, Sirbiladze’s response to male dominance in the art world.

With contributions by Max Henry, Anna Kats, and Julie Ryan, as well as a conversation with the artist and an arrangement of fifteen sonnets by her partner, Benedikt Ledebur, this publication provides a comprehensive survey of Sirbiladze’s works and practice.

Tamuna Sirbiladze

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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.