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Portrait of Njideka Akunyili Crosby. Photo by Stefan Ruiz

Ian Berry

Steven Matijcio

Malik Gaines

Edited by Ian Berry and Steven Matijcio. Interview by Ian Berry. Essays by Malik Gaines and Steven Matijcio

 unites works from the artist’s Predecessors series. Investigating the confluences, contact zones, and third spaces of culture, Akunyili Crosby represents the people and places closest to her: the women of her family, her partner, the interiors of her grandmother’s home and her own. Even in the midst of such personal themes, Akunyili Crosby opens these painted worlds to her viewers, and invites them to reflect upon their own experiences, memories, and emotions.

Njideka Akunyili Crosby: Predecessors

Texts by Cheryl Brutvan and Taiye Selasi

This catalogue is the first publication to focus on the work of Nigerian-born, L.A.-based artist Njideka Akunyili Crosby. It accompanied an exhibition of the artist's work held at the Norton Museum of Art in West Palm Beach, Florida in 2016. Contents include an introductory essay by exhibition curator Cheryl Brutvan, Taiye Selasi's text "Bye-Bye, Babar (Or: What Is An Afropolitan?)", artist interview, artist's chronology, and select bibliography and exhibition history. With full color reproductions of all works in the exhibition.

Njideka Akunyili Crosby: I Refuse to be Invisible

The rich, revealing, and thrilling story of five women whose lives and painting propelled a revolution in modern art, from the 

Set amid the most turbulent social and political period of modern times, 

 is the impassioned, wild, sometimes tragic, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting—not as muses but as artists. From their cold-water lofts, where they worked, drank, fought, and loved, these pioneers burst open the door to the art world for themselves and countless others to come.

Gutsy and indomitable, Lee Krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock. Elaine de Kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax. Grace Hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. Joan Mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. And Helen Frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. Her gamble paid off: At twenty-three she created a work so original it launched a new school of painting.

These women changed American art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation. In 

acclaimed author Mary Gabriel tells a remarkable and inspiring story of the power of art and artists in shaping not just postwar America but the future.

Lee Krasner, Elaine De Kooning, Grace Hartigan, Joan Mitchell, And Helen Frankenthaler: Five Painters And The Movement That Changed Modern Art

Ninth Street Women

Portrait of Neo Rauch. Photo by Uwe Walter.

 was published on the occasion of the artist’s third solo exhibition at David Zwirner in 2005. The exhibition presented ten large-scale canvases with an odd assortment of workers, students, military men, and other characters, against backdrops of mundane architecture, industrial settings, or bizarre and often barren landscapes. Also included is a text by Christine Mehring, writer and Professor of Art History at the University of Chicago.

Neo Rauch: Renegaten

Daniel Kehlmann

Spotlight Series

One of the most influential figurative painters of his generation, Neo Rauch presents bold, new work in 

Rauch is widely celebrated for his captivating compositions that bring together figurative painting and surrealism into an entirely new kind of visual encounter. They often hint at broader narratives and histories—seemingly reconnecting with artistic traditions of realism—but they remain dreamlike and impossible to reduce to a single story. Though his art is highly refined and executed with great technical skill, Rauch himself stresses the intuitive, deeply personal nature of how he works. As the artist notes, “My process is far less a reflection than it is drawing from the sediments of my past, which occurs in an almost trance-like state.”

Eight large-scale canvases and seven smaller, more intimately scaled works continue the artist’s exploration of figuration and the ambiguous nature of meaning in visual art. In some of the larger works, the saturation of the canvas with characters, objects, and forms, all rendered at different scales and in conflicting arrangements, creates a collage-like quality—a figurative scrapbook of Rauch’s personal iconography.

The publication features a short story by German novelist and playwright Daniel Kehlmann, which was inspired by the paintings in this book. The fantastical text moves between present-day New York and an unknown time of enchanted forests, knights, and witches, exploring the many layers found in Rauch’s canvases. Published on the occasion of the artist’s solo exhibition at David Zwirner Hong Kong in 2019, 

Neo Rauch: PROPAGANDA

Gerd Harry Lybke

Neo Rauch (born 1960) is one of the most important figurative painters of his generation and a pioneer of the so-called new Leipzig school of painting. Gespenster (Ghosts) is published for Rauch’s most recent solo exhibition of the same name at Galerie Eigen+Art Leipzig, in 2013. The catalogue contains the first reproductions of the 20 new paintings that were shown in the exhibition, as well as detailed views of the canvases and installation shots. Rauch’s new paintings portray brooding phantasmagoric scenarios composed of several different snapshots that spatially (and sometimes narratively) overlay each other. A rusty, red-brown undertone suffuses the pictures, its muteness emphasized against intensely chromatic areas. Unlike the large-scale paintings, Rauch’s smaller works are softer and more graphic, with isolated figures and deserted landscapes, like fragments from completed pictures that have become independent.

Neo Rauch: Gespenster

Ralph Keuning

Harald Kunde

Ulf Küster

Norman Rosenthal

Klaus Werner

Texts by Ralph Keuning, Harald Kunde, Ulf Küster, Norman Rosenthal, and Klaus Werner

 is a survey of the painting of Neo Rauch. It begins with his first solo show in 1993 at the renowned Galerie Eigen + Art in Leipzig and traces in detail the developments in his oeuvre up to the present day, using paintings from prominent international collections as examples. Accompanying essays by well-known curators and art historians provide fundamental insights into Rauch’s complex body of work.

When Rauch was a student of Arno Rink at the Hochschule für Grafik und Buchkunst in Leipzig, Germany was still a divided country. After the fall of the Berlin Wall, when his large, cryptic paintings first debuted in the art world, Rauch became the trailblazer for the New Leipzig School, and its most famous representative, with paintings combining elements of Pop art, comics, and advertising graphics.

Paintings 1993–2017

Neo Rauch: Dromos

Texts by by Brett Littman and Jeff Fleming. Interview with the artist by Ena Swansea

Neo Rauch: Aus dem Boden / From the Floor

 reproduces the first exhibition entirely devoted to his drawings in the United States. Neo Rauch is one of the best-known artists from the Leipzig school in Germany. His psychologically complex paintings have been widely collected and written about for more than twenty years. Featuring more than one hundred fifty never or rarely seen works that span over thirty years of Rauch’s career, this catalogue presents drawing as an essential but often overlooked aspect of his oeuvre. A collaboration between The Drawing Center and the Des Moines Art Center, the show was presented first in Des Moines in 2018.

The drawings, which Rauch describes as “dreams on paper,” are made during periods of intense painting activity and are left on the floor of the studio for his assistant to pick up and place in flat files for storage. Rauch, who never makes preparatory sketches or drawings before he begins painting, uses the medium instead to mine his own subconscious and to visualize characters and scenarios for the works in progress. His drawings range from thumbnail compositional sketches for paintings, to phone doodles, figure and landscape studies, and to more formal and completed works.

This publication is currently backordered.

The richly textured, seductive paintings of German artist Neo Rauch are marked by a “distinctive Pop-Surrealist-Social Realist style,” as described by 

 art critic Roberta Smith in 2002. Incorporating disjunctive references to disparate eras, techniques, and aesthetics, they evoke “avant-garde theater stage sets from an earlier time ... both buoyant and tamped down, comic and earnest.” In many of his compositions, human figures engaged in manual labor or indeterminable tasks work against backdrops of mundane architecture, industrial settings, or bizarre and often barren landscapes. Scale is frequently arbitrary and non-perspectival, which adds to an overall dreamlike atmosphere; spatial relationships seem to construct an imaginary realm all of its own, one which both defies logic and feels somehow familiar.

, produced to coincide with the 2014 exhibition of Rauch’s new works at David Zwirner in New York, brings together small and large format paintings that expand the artist’s unique iconography of eccentric figures, animals, and hybrids within vaguely familiar but imaginary settings. This oversized catalogue—designed in close collaboration with the artist—is anchored by sixteen stunning plates and numerous 1:1 details that bring to life, and give viewers intimate access to, these compelling compositions. Themes of rebirth and new beginnings abound: Rauch consistently creates characters who appear to be in the process of transformation, literally on the brink of renaissance. These figures, though squarely centered in his paintings, often have the appearance of being part of still lifes: collaged, anachronistic elements belonging to different time zones and eras offer a contemporary take on the storied tradition of visual and psychological pastiche.

 features an illuminating essay by art historian and curator Sir Norman Rosenthal, who presents a careful reading of Rauch’s new work, including its relationship to fairy tales; the influence of the German Democratic Republic on his development as an artist in the 1980s; and the overarching sense of alienation that is present within his narratives. The book also includes a reprint of the classic Brothers Grimm fairy tale “The Young Giant,” specifically chosen by Rosenthal to further expand his analysis.

Neo Rauch: At the Well

This fully illustrated catalogue was published on the occasion of the artist’s fourth solo exhibition at David Zwirner in 2008. The exhibition presented new paintings by Rauch, which feature a colorful cast of characters, ranging from sturdy women workers to dandified men in topcoats. Amongst the works on view was the striking painting 

 (2008), which depicts a fallen painter with a noose tied from his neck to a blank canvas. Available in hardcover, this catalogue includes a text by art critic Christian Viveros-Fauné.

Neo Rauch

A painting by Nate Lowman, titled Maria, dated 2022.

Taking humanity and popular culture as his subject matter, Nate Lowman approaches these themes as an active participant in the collective American experience. Underscoring this is desire: a longing for something or someone, or a wish for something to happen. The duality inherent in desire is contained in Lowman’s use of well-known images whose meanings are both instantly recognizable and constantly in flux. Appropriated, relatable images and language from American pop culture and its 24-hour news cycle form a narrative and tell part of the American story. Angels, poppies, hearts, pine-tree air fresheners, smiley faces, iconic celebrities, crosses and news articles—all presented through the lens of desire—confront viewers with the things of modern life that are often left unsaid and unexamined.

For more than a decade, Nate Lowman has produced paintings, sculptures, and (often salon-style) installations that process and represent the unfolding human experience in a visual environment of endlessly proliferating public media archives. Re-presenting and reframing techniques of image reproduction as painterly practice, Lowman constructs narratives condensed in layers of studio techniques, including printing, cropping, projecting, cutting, staining, repurposing, lacquering, stripping, and stretching. His paintings explore the capacity of images to mediate between the personal and the universal in cycles of decay and renewal.

Published on the occasion of the Aspen Art Museum’s exhibition of the New York–based artist, Nate Lowman is the first comprehensive monograph on the artist to date.

Nate Lowman: Before and After

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

Marlene Dumas. Photo by Photo by Merlijn Doomernik

Leontine Coelewij

Colm Toibin

Theodora Vischer

Text by Leontine Coelewij, Colm Toibin. Interview by Theodora Vischer

Marlene Dumas is one of the most prominent and influential painters working today. In an era dominated by the mass media and a proliferation of images, her work is a testament to the meaning and potency of painting. Dumas draws on her expansive visual archive and the nuances of language to create intense, psychologically charged works which explore themes such as sexuality, love, death, and guilt, often referencing art history and current affairs. Her paintings and drawings are characterized by their extraordinary expressiveness and sometimes controversial subject matter. This fully illustrated exhibition catalogue accompanies a major exhibition at the Tate Modern, the Stedelijk Museum, and the Fondation Beyeler. Surveying the artist’s oeuvre from the mid-70s to the present, it features over 100 of her most important paintings and drawings alongside lesser-known works from the early period of her career. 

 also includes a new interview with the artist; extracts from previously published but lesser-known texts (some available in English for the first time); and a new short story from prize-winning author Colm Tóibín written in response to the paintings. Essays and texts from a wide range of contributors examine the key themes and motifs in her work and reflect on Dumas’s entire career.

Marlene Dumas: The Image as Burden

Marlene Dumas

Mariska Van Den Berg

Text by Marlene Dumas. Edited by Mariska Van Den Berg

From the beginning, language has played an important role in the work of Marlene Dumas. Her earliest collages make use of text, and she often writes poetical monikers or captions directly onto her drawings, such as “The Eyes of the Night Creatures” or “Miss Interpreted.” Over the last 30 years, the artist has written texts ranging from aphorisms, statements and short poetic pieces to longer analytical essays. Her writing focuses on her own work, discussing its subject matter, its politics, background and source material, as well as its critical reception and her own cultural position as an artist. “I am always ‘not from here,” she writes in one text (a poem), “even though I try to know or understand ‘what’s going on’ and what the rules are and how they keep on changing and what that means. When looking at images I’m not lost, but I’m uneasy.”

, originally published in a long out-of-print (and rare) Dutch edition in 1998 and now revised and expanded, provides a selection of her best and most representative writings from 1982–2014.

Notes and Texts 1982–2014

Marlene Dumas: Sweet Nothings

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

Described by Deborah Solomon in a New York Times profile as “one of contemporary art’s most compelling painters,” Marlene Dumas has continuously explored the complex range of human emotions, often probing questions of gender, race, sexuality, and economic inequality through her dramatic and at times haunting figural compositions. Originally published in 2010 on the occasion of 

, Dumas’s first solo presentation at David Zwirner in New York, this much sought-after exhibition catalogue—which sold out shortly after publication—has been reprinted to coincide with the artist’s 2014–2015 European retrospective exhibition 

, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel.

Throughout her career, the internationally renowned artist has continually created lyrically charged compositions that eulogize the frailties of the human body, probing issues of love and melancholy. At times her subjects are more topical, merging socio-political themes with personal experience and art-historical antecedents to reflect unique perspectives on the most salient and controversial issues facing contemporary society. The large-scale works included in 

 are primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting. 

, the painting that began the series, at first appears to present a scene at the Western Wall (also known as the Wailing Wall), an important site of religious pilgrimage located in Jerusalem. However, this work is based upon a photograph from a newspaper that portrayed a group of Orthodox Jews on their way to pray at Rachel’s Tomb in Bethlehem. Through her delicate treatment of every scene, Dumas destabilizes preconceived notions about what, in fact, is being pictured—engaging the often ambiguous nature of ideas like truth or justice. “In a sense they are my first landscape paintings,” Dumas further notes in the catalogue, “or should I say ‘territory paintings.’ That is why they are so big.” The somber color plates reproduced in the publication are given context by Dumas’s own musings, a text framed as a letter to David Zwirner in which she tries to tell him “about the ‘why’ ” of this powerful series.

Marlene Dumas: Against the Wall

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

Marcel Dzama SOLO

Lucía Casani

Estrella De Diego

Raymond Pettibon

Introduction by Lucía Casani. Texts by Estrella De Diego and Raymond Pettibon.

 is published on the occasion of Marcel Dzama's eponymous exhibition at La Casa Encendida, Madrid. The exhibition proposes a tour of the artistic universe of Marcel Dzama while presenting for the first time much of his most recent production, in which the artist encourages activism through "revolution".

Through the Canadian artist's imagination, figures drawn from folk tales, the world of comics, and television coexist with twentieth-century terrorists, fictional animals, ballet dancers, and opera singers. The social and political questioning is therefore intertwined with a world of fables and complex narratives where carnival, war, mythological, and ironic make up an artistic vision that incites multiple readings.

Marcel Dzama: Drawing on a Revolution

is a limited edition zine published on the occasion of the artist's exhibition at the New York Art Book Fair 2015. Printed digital offset in an edition of 250 numbered copies, this publication was composed by Dzama and includes a selection of recent collages and etchings, as well as film stills from 

Une danse des bouffons (or A jester's dance)

Marcel Dzama: Death Disco Issue 1

Laila Pedro

Lying deep within the urban metropolis of Hong Kong, Happy Valley is one of the most iconic racecourses in the world. It is also the chief source of inspiration for a new body of work by American artist Marcel Dzama.

Jockeys ride through waves and cathedrals, Chinese symbols pulled from racing paraphernalia adorn the edges of paper, and bats swoop, hunting for prey. Dzama’s distinct visions of the racetrack come alive through a series of large-scale paintings and drawings, transposing imagery from his prolific oeuvre into this adrenaline-filled sporting arena. His new works reflect on the culture of horseracing and how the track has become not only a symbol of sport, but also of commerce, class, and wealth.

The publication includes a conversation between Dzama and Laila Pedro. Published on the occasion of his solo exhibition at David Zwirner, Hong Kong in 2019, 

Marcel Dzama: Crossing the Line

, is published on the occasion of the artist’s sixth solo exhibition at David Zwirner in 2011. The exhibition debuts a major new film, 

, alongside related drawings, sculptures, and dioramas. In the film, characters based on the classic game of chess, dressed in geometrically designed costumes and wearing elaborate masks, dance across a checkered board to challenge their opponents in fatal interchanges. Designed in collaboration with the artist in the format of a small sketchbook, this exhibition catalogue includes drawings, storyboards, dioramas, and film and production stills from the making of 

Marcel Dzama: Behind Every Curtain

Frederik Bjerregaard

Hanna Mood

Martina Hoogland Ivanow

The paintings by Mamma Andersson on these pages are mostly new works, many of them from the exhibition she curated at the São Paulo Art Biennial. With this publication the intention has been to reveal Andersson’s work in a new context, outside the walls of a gallery, alongside two photographers – Hanna Moon and Martina Hoogland Ivanow – inspired by her universe. As Mamma says of the titles of her works, our wish is “to provide viewers with a platform to direct their thoughts onto a track that they hadn’t thought of...” Hanna Moon, the South Korean artist and fashion photographer, joins Mamma Andersson in Brazil as she installs her exhibition at the 2018 Bienal de São Paulo. Moon’s photographic project is the antithesis of reportage, a personal investigation of her experience of the city. Her confrontational work may appear on first glance to be a million miles from Andersson’s, and yet in its tone, intimate but also unfamiliar and disturbing, we perhaps trace reverberations of Andersson’s universe.

Mamma Hanna Martina: Text Paintings Photos

Kevin Moore

Painters often draw from existing visual materials, such as photographs and reproductions of past works of art, to inspire and construct their work. Swedish artist Mamma Andersson (born 1962)—known for her dreamlike, faintly narrative compositions inspired by Nordic painting, folk art and cinema—is no exception.

But Andersson takes this process a step or two further, importing images of stacks of books and stray photographs, clipped from various sources, directly into her painted compositions. With careful observation, Andersson's dreamy landscapes and interiors slowly come to reveal common imagery and accumulated biblio-ephemera filtered through, and sharing space with, the artist's muted palette, melancholic scenery and textural paint. 

focuses on this aspect of Andersson's painting practice, exploring how her use of appropriation and collage charges her paintings with an eerie, uncanny sense of familiarity.

Mamma Andersson: Memory Banks

Texts by Kim Levin, Midori Matsui, Lars Nittve, Lars Norén, and Ann-Sofi Noring

The Swedish painter Karin Mamma Andersson works with dreams, fairy tales, and the details of everyday life. Her passion for storytelling means that every dark maelstrom is scattered with structuring elements: a window, a television, someone looking at a painting. Her early works feature children in vast landscapes, forests, lakes and countryside that echo her own childhood in northern Sweden, (she was born in Luleå in 1962). In later pieces, this rural setting yields to the interiors of the art world–cluttered framers’s workshops, libraries, and elegant salons. Most recently, these rooms have opened up towards new realms, where the finely ornamented objects from Andersson’s gallery scenes seem at home, dreamlike, in the wilderness, with paintings hanging from snowy mountains. Whatever her motifs, the atmosphere is always one of serenity and wonder, a moment of appreciation between finding and forgetting. Today, Andersson is one of Sweden’s most internationally recognized artists, with recent solo exhibitions at David Zwirner Gallery, New York, Stephen Friedman Gallery, London, and the Carnegie Museum of Art, Pittsburgh. She represented her country at the Venice Biennale in 2003, and was also featured at the 2004 Berlin Biennial and the Sydney Biennial, 2006.

Mamma Andersson

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