An installation view of Rirkrit Tiravanija's work, Untitled 1992 (Free), dated 1992-2007, at David Zwirner New York, in 2007.

Rirkrit Tiravanija, 2021. Photo by Daniel Dorsa

Edited by Ruba Katrib, Yasmil Raymond, Jody Graf, Kari Rittenbach. Contributions by Ruba Katrib, Yasmil Raymond, Jörn Schafaff, David Teh, Mi You, Abraham Cruzvillegas, Liam Gillick, Hou Hanru, Karl Holmqvist, Pierre Huyghe, Arthur Jafa, Eungie Joo, Pamela M. Lee, Glorimarta Linares, Arto Lindsay, Molly Nesbit, Hans Ulrich Obrist, Philippe Parreno, Elizabeth Peyton, Martha Rosler, Aki Sasamoto, Shimabuku, Danh Vo

Four decades of participatory art, films, sculpture and more from the iconic Relational Aesthetics pioneer

Accompanying the first US survey and largest exhibition to date dedicated to Thai artist Rirkrit Tiravanija, 

 traces four decades of Tiravanija’s multifaceted practice. Spanning rarely seen early works from the 1980s through recent projects, the publication covers Tiravanija’s experimentations with installation, film, works on paper, ephemera, sculpture and participatory works. Designed by Tiffany Malakooti, the publication features over 400 images—many of which are published for the first time—as well as 23 newly commissioned texts. Longform essays by exhibition curators Ruba Katrib and Yasmil Raymond, as well as scholars Jörn Schafaff, David Teh and Mi You, dive into key aspects of Tiravanija’s work, providing historical context. These texts are complemented by 18 short reflections from artists, thinkers and collaborators who have been key interlocutors with Tiravanija over the years.

Rirkrit Tiravanija: A LOT OF PEOPLE

Leo Amino

Edited with text by Genji Amino. Texts by Julie Amino, Aruna D'Souza, Wayne Koestenbaum, Lucy R. Lippard, Susette Min, Neferti X. M. Tadiar, Mary Whitten, Ronaldo V. Wilson, and Karen Yamashita. Chronology by Genji Amino and Christina Hiromi Hobbs. Afterword by Jeff Arnal

The first monograph to be published featuring the work of the Japanese American artist, 

 introduces a vital revision into both the canon of 20th century avant-garde sculpture and the history of Asian American art.

The volume is published in association with the first significant museum exhibition dedicated to the artist’s work since 1985, 

at the Black Mountain College Museum + Arts Center, and shares a title with the artist’s first solo exhibition in New York since 1973, held at David Zwirner Gallery in 2020. Edited and written by the artist's grandchild, poet and curator Genji Amino, the book includes additional texts by a selection of writers, poets and scholars including Aruna D'Souza, Wayne Koestenbaum, Lucy Lippard, Susette Min, Neferti Tadiar, Mary Whitten, Ronaldo Wilson and Karen Yamashita. Richly illustrated with images from the BMC Museum and Zwirner exhibitions, the volume includes an extended chronology featuring never before seen archival images and ephemera from across the artist’s career.

Amino is the first artist in the United States to take up plastics as a principal material of sculptural composition, the innovator of cast plastics in American sculpture, and the most represented artist of color in the history of the Whitney Museum of American Art’s annual exhibitions for sculpture after Isamu Noguchi. He is the only Asian American artist to teach on faculty in the history of the Summer Art Sessions at Black Mountain College, where he taught alongside artists including Josef and Anni Albers, Jacob and Gwendolyn Knight Lawrence, and Beaumont and Nancy Newhall, and informed the education of students Ruth Asawa, Kenneth Noland, and Harry Seidler, among others. Recommended to the faculty at Cooper Union by Josef Albers, Amino taught there for twenty five years, introducing students such as Jack Whitten to sculptural concerns.

Across a breadth of media and compositional approaches often remarked during the artist’s lifetime for its inventiveness and versatility, Amino’s oeuvre brings into focus the dynamics of perception, articulating space, light, and color through an optics of encounter, interpenetration, and absorption. Almost exclusively self-taught, Amino drew on three months’ training in direct carving technique at the American Artists School in Greenwich Village in order to adapt the study of form latent in wood grain into a promiscuous and autodidactic material investigation. Beginning in the early 1940s, the artist’s experiments in new media emerged from his dissatisfaction with painting on the sculptured surface. In 1945, Amino became the first American sculptor to employ cast plastics in an exploration of the question of interior and exterior relation through the problem of integral color, introducing the newly declassified military and industrial material of polyester resin into a history of media experiment following the Plexiglas works of Bauhaus and constructivist artists László Moholy-Nagy and Naum Gabo. Amino envisioned a mode of sculpture for which the principal means of composition would be light and color as early as 1949, anticipating the concerns of the next generation’s Minimalist and Light and Space movements whose artists would take up his medium of choice two decades later. In 1965, Amino made the decision to abandon his other avenues of inquiry in order to dedicate himself exclusively to the new material, beginning a series of geometric, 

 compositions in resin that he would pursue until his passing in 1989.

Leo Amino: The Visible and the Invisible

A sculpture by Ruth Asawa, called Untitled (S.175, Hanging Single-Lobed, Four-Layer Continuous Form within a Form), dated c. 1992.

Richly illustrated volume exploring the inseparable histories of modernist abstraction and twentieth-century textiles.

Published on the occasion of an exhibition curated by Lynne Cooke, 

 offers a fresh and authoritative look at textiles—particularly weaving—as a major force in the evolution of abstraction. This richly illustrated volume features more than fifty creators whose work crosses divisions and hierarchies formerly segregating the fine arts from the applied arts and handicrafts.

 begins in the early twentieth century, rooting the abstract art of Sophie Taeuber-Arp in the applied arts and handicrafts, then features the interdisciplinary practices of Anni Albers, Sonia Delaunay, Liubov Popova, Varvara Stepanova, and others who sought to effect social change through fabrics for furnishings and apparel. Over the century, the intersection of textiles and abstraction engaged artists from Ed Rossbach, Kay Sekimachi, Ruth Asawa, Lenore Tawney, and Sheila Hicks to Rosemarie Trockel, Ellen Lesperance, Jeffrey Gibson, Igshaan Adams, and Liz Collins, whose textile-based works continue to shape this discourse. Including essays by distinguished art historians as well as reflections from contemporary artists, this ambitious project traces the intertwined histories of textiles and abstraction as vehicles through which artists probe urgent issues of our time.

Woven Histories: Textiles and Modern Abstraction

Portrait of Neo Rauch, 2023. Photo by Uwe Walter.

His enigmatic, equivocal paintings require a long look to fully appreciate the complexity of their composition, their play on scale and the abundance of symbols. They weave unexpected links between periods and places, between history and the present, and draw on skilful references to the Italian Renaissance, German Romanticism and Socialist Realism. Neo Rauch invents a painting 'like a dream' that interweaves scenes and allusions, offering the viewer a wide range of open-ended reflections on history, heritage, the power of art, the role of the artist and the impasses of contemporary society.

In keeping with the ambition of the event, the exhibition at MO.CO. brings together hundreds of works by the artist, including over forty canvases, many of them of impressive size. Entitled Le songe de la raison (The Dream of Reason), after Goya's engraving El sueño de la razon produce monstruos (The Dream of Reason Produces Monsters), from which Neo Rauch sometimes drew inspiration, this retrospective retraces the painter's singular career from the early 1990s to the present day. After a vast selection of drawings and watercolours spanning the period from 1990 to 2021, the retrospective unfurls on the three floors of the MO.CO. an ensemble of major canvases borrowed from numerous foreign collectors and museums, never before exhibited in France.

This original, carefully produced work is the first French-language publication on Neo Rauch, and includes an interview with the artist and around sixty selected works.

Neo Rauch: The Dream of Reason

An installation by Huma Bhabha, titled We Come in Peace, at the Metropolitan Museum of Art in New York, dated 2017.

Texts by Vincent Honoré and Numa Hambursin

Originally from Pakistan, Huma Bhabha grew up in a house full of art books. Huma Bhabha is known for her distinctive visual language, which focuses on the human figure in all its expressive potential. She draws inspiration from ancient sculpture, modernism and contemporary popular iconography. The monumental sculptures Bhabha creates using a combination of surprising materials oscillate between the recognizable, the human or animal, and the extraterrestrial.

Huma Bhabha: A Fly Appeared and Disappeared  (Une mouche est apparue et disparut)

A detail from a painting by Steven Shearer, titled The Collector's Visit, dated 2019.

Steven Shearer, The Collector's Visit, 2019

Steven Shearer (b. New Westminster, BC, 1968; lives and works in Vancouver) works in a range of media including printmaking, sculpture, painting, drawing, and collages of found photographs. His portraits of individuals in decorated settings earned Shearer international acclaim. They show heroes from the past-protagonists of musical subcultures or the history of art. The archetypal creative minds in their studios appear together with their works; the interiors surrounding them reflect their psychological constitution. Shearer paints them in the style of Symbolism, the German Romantics, or the Fauves. Imitating the perspective painting of the Renaissance, he virtually pulls the beholder into his pictures.

Steven Shearer: Working From Life

Edited by Kim Conaty and Edouard Kopp. Contributions by Aleesa Pitchamarn Alexander, Jordan Troeller, Scout Hutchinson, Kirsten Marples and Isabel Bird

A groundbreaking examination of how the act of drawing was a vital component of Ruth Asawa’s multifaceted art

“A revelatory exhibition. . . . [A] fine exhibition catalog.”—Nancy Princenthal, 

Ruth Asawa (1926–2013), widely known for her looped-wire sculptures, was an inveterate drawer. She filled sketchbook after sketchbook and even stated that drawing was central to her sculpture. This volume is the first to consider the significance of drawing in Asawa’s oeuvre throughout her career, featuring essays that examine the range of Asawa’s aesthetic maneuvers across materials and techniques; how Asawa’s drawing intertwined with the Bay Area arts community and her contributions to public education as a teacher and organizer; and the influence of Josef Albers’s pedagogy and Asawa’s lifelong adoption of his type of paper folding. Tracing Asawa’s artistic journey from her first formal art lessons in a Japanese American internment camp during World War II through her time at Black Mountain College and beyond, this comprehensive overview of the artist’s drawings includes reproductions of more than one hundred works—many of which have never been published—organized into eight thematic sections that cut through time, reflecting an art-making practice that was more circular or cyclical than linear.

Ruth Asawa: Through Line

A scuplture by Yayoi Kusama called Dancing Pumpkin dated 2020

Yayoi Kusama, 2021.  Photo by Yusuke Miyazaki

A beautiful artist-designed journal plus a catalogue celebrating her poetry.



Featuring the vibrant and dynamic work of Yayoi Kusama, 

 is the perfect canvas for imagination. The paintings on the cover and endpapers of Kusama’s first 

 provide the perfect motivation for any creative pursuit.

In her most personal book to date, 

, Kusama brings us into her private world through poetic recollections, giving insight into her creative process and the essential role language plays in her paintings, sculptures, and daily life.

Yayoi Kusama (Book and Journal)

A special Ruth Asawa set with a stunning catalogue and blank journal.

 is a welcome reminder to find inspiration in the everyday object. The delicate works featured in the artist's first 

 beckon the inner artist to carve out time to look and create.

Revealing rarely seen work alongside her iconic looped-wire sculptures, 

 celebrates Asawa’s unique vision and intimate subject matter. The catalogue is a document of the breathtaking and surprising eponymous exhibition organized by Helen Molesworth.

Ruth Asawa (Book and Journal)

An untitled painting by Noah Davis, dated 2015.

This collection tells the story of Noah Davis, a brilliant artist and cultural force, through the eyes of his friends and collaborators. Together, the two volumes provide a crucial record of Davis's extraordinary oeuvre and offer insight into the impact and legacy of the revolutionary Los Angeles artist and activist.

 is published on the occasion of the 2020 exhibition at David Zwirner, New York. Edited by curator Helen Molesworth, the book includes interviews with Lindsay Charlwood, Dagny Corcoran, Daniel DeSure, Thomas Houseago, Deana Lawson, Henry Taylor, and Venus X.



 includes a special conversation, moderated by Helen Molesworth, between Fred Moten, Glenn Ligon, Thomas Lax, and Julie Mehretu; a new essay by Franklin Sirmans; and a chronology by Lindsay Charlwood.

Noah Davis Collection

A portrait of Gerhard Richter by Werner Bartsch.

Dieter Schwarz

Foreword by David Zwirner. Text by Dieter Schwarz

This highly anticipated catalogue, accompanying Gerhard Richter’s first exhibition with David Zwirner, presents Richter’s last paintings along with his recent explorations in drawing, printing, and sculpture.

This limited, exclusive edition is packaged in a luxurious cloth slipcase and is signed by the artist.

“[His last paintings] can feel almost like exquisite texts to be read. . . . Their freshness and spontaneity feels like a new beginning.” —Roberta Smith, 



Known for his abstract and realist paintings, Gerhard Richter has pursued a diverse and influential practice characterized by a decades-long commitment to the medium and its formal and conceptual possibilities. This remarkable book celebrates the breadth of Richter’s newest bodies of work and archives a historical moment in the artist’s career.

Full-color plates and installation views showcase a selection of the artist’s final works on canvas—made just before he announced his retirement from oil painting in 2017—alongside an expansive suite of new drawings made with ink, graphite, and colored pencil on paper, a remarkable series of chromatic inkjet prints titled mood, and a stunning glass sculpture that debuted at the exhibition in New York. A newly commissioned essay by Dieter Schwarz, one of the foremost experts on Richter’s oeuvre, illustrates the artist’s path toward his newest bodies of work. Schwarz describes Richter in his studio, revealing the creative process behind his iconic practice.

Out of stock

Gerhard Richter: New York 2023 (Special Edition)

An oil on canvas painting by Dana Schutz, titled The Arts, dated 2021.

Texts by Dan Nadel, Lynne Tillman, and Hamza Walker

The first comprehensive monograph on one of today’s most innovative and successful painters—made in close collaboration with the artist



Defined by bold brushstrokes, a dynamic use of color, and imaginative compositions, the paintings of Dana Schutz are panoramic expanses that offer visions of humanity in all its complex facets. Her deeply subjective approach, untethered from realism, translates into images that seem to exist in a place that transcends time while celebrating the intrinsic qualities of her medium of choice with freedom and intelligence. As the artist herself stated, ‘I’m interested in painting as an affective place where the hierarchies of the world can be rearranged within the space of a painting.’ This first comprehensive monograph on her work was created in close collaboration with the artist and features a number of never-before-seen paintings and drawings.

Dana Schutz

This limited, exclusive set includes a signed copy of each of Mamma Andersson’s newest artist’s books, 

 is a celebration of representation, figuration, and classical antiquity.

"When I look at this collection of pictures, . . . what strikes me first is the image-making capacity itself and the endless stream of images it brings forth and always has brought forth into the world.” —Karl Ove Knausgaard



 spotlights the beauty and mystery of nature and the absence of time.

“What Mamma Andersson does in some of these pictures is on the one hand depict the illusions, the one thing which is another thing—masks, theater, statues, paintings—and on the other portray that which is only itself, potted plants, tree trunks, trees, landscapes. Everything is motionless, these rooms are located out of time.” —Karl Ove Knausgaard

Mamma Andersson Signed Set

Portrait of Kerry James Marshall, 2018. Photo by Jason Bell

A complete survey of Marshall’s prints from the 1970s to the present, with many previously unseen works

Kerry James Marshall is famed for his beautifully executed paintings that address the under-representation of the Black figure in the Western pictorial tradition. Though best known as a painter, Marshall has throughout his career also produced a vast graphic oeuvre that has been seldom seen and rarely documented. Marshall spent his youth building his craft in drawing and painting, but also in wood engraving and printing; by his mid-twenties, he recalls, "I could do woodcuts, etchings, aquatints." Most of his prints have been produced not in professional print workshops but by the artist, working alone in his studio. They range from images the size of postcards to his 50-foot-long, 12-panel woodcut 

 (1998–99), to iterations of his ongoing magnum opus 

. And while some have entered prominent museum collections, many exist only in private collections or the artist’s archive and are unknown to the public. This catalogue raisonné offers the first public account of these important works and the first in-depth study of the role of printed images and print processes in Marshall’s work as a whole.

Kerry James Marshall: The Complete Prints

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

This limited signed edition, only available as a complete set, includes the artist’s signature on the title page of each volume. Each volume is enclosed in its own slipcase.



Edited by Eva Meyer-Hermann

One of the most important painters working today, Luc Tuymans pioneered a distinctive style of figurative painting beginning in the 1980s that has been singularly influential to his peers as well as subsequent generations of artists. Tuymans’s deeply resonant compositions insist on the power of images to simultaneously reveal and withhold meaning. From his generative early work to his most iconic canvases, the catalogue raisonné charts the artist’s investigation into painting’s relationship to history and technology.

The three-volume catalogue raisonné of paintings surveys Tuymans’s oeuvre of nearly six hundred works, made between 1972 and 2018. Each painting is illustrated and features its full exhibition history and literature notations. Each volume includes a comprehensive illustrated chronology, highlighting major projects, public commissions, discussions and events, and exhibitions. The first volume includes an expansive bibliography and exhibition history through 2016, with a supplement in the third volume covering the years 2017 and 2018.

Luc Tuymans Catalogue Raisonné of Paintings: Volume 1–3 (Signed)

Katherine Bernhardt: Why is a mushroom growing in my shower?

Seen in the Mirror: Things from the Cartin Collection

Tiona Nekkia McClodden: MASK/CONCEAL/CARRY

David Zwirner Books: Fall 2023

A studious view of Richard Serra’s recently premiered forged-steel sculpture and new drawings using his trademark paintstick technique



“Enigmatic, arresting, audacious: Richard Serra now and forever.” —



Richard Serra’s hugely successful body of work consistently explores the possibilities of form and matter. Serra’s steel sculptures are held in major collections internationally, and his drawings assert themselves as abstract victories. Through the use of black paintstick—a combination of oil paint, wax, and pigment, to which he has used since 1971—Serra’s drawings convey a strong sense of optical weight, acutely similar to the physical presence of his sculptures. 2022, the artist’s largest single forged round to date, investigates properties of weight and scale.

While the exhibition allowed viewers to encounter Serra’s immense forged round and inky drawings in relation to their own space and bodies, the catalogue is an opportunity for intimate engagement with Serra’s works through stunning reproductions.

Richard Serra: 2022

Tiona Nekkia McClodden

Clarion

Rhea Dillon

Ebony L. Haynes

Simone White

Curator’s Note by Ebony L. Haynes. Artist’s statement by Tiona Nekkia McClodden. Conversation between Tiona Nekkia McClodden and Simone White. Poem by Rhea Dillon

Tiona Nekkia McClodden considers the presence and absence of the Black figure and aesthetic tropes of representation through work traversing film, installation, sculpture, painting, and writing.

“An artist who may be America’s most essential today.” —Siddhartha Mitter, 



Known for her sharp examinations of biomythography and intersubjectivity, McClodden uses a research-based approach in her practice as an artist and self-described “historian and cultural custodian.” 

 dissects the many meanings of these three words. McClodden creates films, paintings, and sculptures from her own firearms and calibers, and referencing cultural and historical objects including Benin Bronzes and BDSM gimp masks. This exhibition pivots around the concept of “training to failure.” It holds that, in order to achieve gains or to succeed—a success measured by and set in accordance with someone else’s standard—you must strenuously lift something that is inherently too great a load to bear. McClodden communicates a core awareness of the body as it corresponds to the fragile boundaries of the psyche. Through custom lighting, the artist carefully choreographs a performance between the work, the gallery space, and the viewer.

Adding to McClodden’s narrative and psychological concepts, this publication includes a curator’s note from Ebony L. Haynes, a poem by the acclaimed writer and artist Rhea Dillon, and a conversation between the poet Simone White and the artist, as well as a statement penned by McClodden herself.

Tiona Nekkia McClodden: MASK / CONCEAL / CARRY 

Tau Lewis

Yves B Golden

Tiana Reid

Curator’s note by Ebony L. Haynes. Text by Tiana Reid. Poem by Yves B. Golden

Tau Lewis’s mythical sculptures create elaborate portals into fantastic worlds.

“At 52 Walker, artist Tau Lewis transmutes the lifeblood of scrap objects into something sanctified. . . . I’m reminded that an art gallery can also be a temple.” —

 at the 2022 Venice Biennale, Lewis has continued to create—from salvaged textiles and other found materials—anthropomorphic forms inspired by those in Yoruban mask dramas, which are spiritually activated by the wearer and the audience and, by extension, their community. Likewise referencing the work of the Nigerian playwright Wole Soyinka, classical Greek and Roman mythology and drama, science fiction, and angelology, Lewis develops her characters’ identities and narratives in an intermediary world that implicates our ancestral pasts, spiritual and cultural similitudes, and multiplanar existences. Documenting and expanding on Lewis’s body of work shown at her 52 Walker exhibition 

, this catalogue contextualizes the artist’s investigations and expressions.

Poetry by the multidisciplinary artist and activist Yves B. Golden complements Lewis’s otherworldly motifs. With a curator’s note by Ebony L. Haynes, this publication also features an essay by Tiana Reid that explores Lewis’s practice, drawing connections between sources that range from Joy James to Frederick Douglass.

Tau Lewis: Vox Populi, Vox Dei

An installation view of works by Shio Kusaka.

Shio Kusaka’s ceramic vessels articulate poetic connections, creating a cohesive and unique installation.

“It’s a striking effect—some pieces are bowl-shaped, others are cylindrical, a few have slim, sloping necks. Their linear arrangement suggests some kind of progression through time and space.”
—

While pulling inspiration and techniques from ancient Japanese ceramics as well as from popular culture and everyday life, Kusaka carves new language into her artwork. Employing various types of clay and firing methods, she experiments with line, color, and size to bring fresh life to the medium. This harmonious presentation is created from individual pieces and thematic groupings, resulting in an extraordinary, unified installation to be experienced in the round. Created in close collaboration with the artist and with many detail images, this book provides a deep dive into Kusaka’s incredible work 

.

Published after Kusaka’s hugely successful exhibition at David Zwirner, New York, in 2022, this catalogue studies her singular installation from all angles. A text by Kusaka illuminates her working process and provides unique insight into this particular work.

Shio Kusaka: one light year

Anna Kats

Introduction by Ebony L. Haynes. Texts by Anna Kats and Nora Turato

series features the Amsterdam-based artist Nora Turato and her vibrant enamel panels that magnify the omnipresence of text, design, and speech in our contemporary culture.



“Meticulous as Helen and tricky as Odysseus, the artist invites us first to misread the slick surfaces and humor of her works as effortless, then forces us to attend to the laborious practices they belie, the histories and possibilities of that effort.” —



Originally trained as a graphic designer, Nora Turato adapts text to subvert and create messages. Although many of Turato’s performances and works appear to be drafted by free association, she meticulously and thoughtfully edits them to evoke a sense of alluring confusion. In three signature murals with a bespoke typeface, Turato addresses the inundation of language, typography, and graphic design in our contemporary culture, whether in the news, on social media, or in advertisements.

Published on the occasion of Turato’s widely popular exhibition

 at 52 Walker, this publication features texts by Ebony L. Haynes and Anna Kats. Serving as an extension of the exhibition, performance scripts by the artist are also included in this publication. As described in 

, “In the slick sea of graphic smoothness and language lost from meaning, something has still been irrefutably made.”

Nora Turato: govern me harder

Lindsay Charlwood

Helen Molesworth

Glenn Ligon

Franklin Sirmans

Julie Mehretu

Fred Moten

Texts by Helen Molesworth and Franklin Sirmans. Interview by Helen Molesworth with Thomas Lax, Glenn Ligon, Julie Mehretu, and Fred Moten. Chronology by Lindsay Charlwood

Designed as a companion to the hugely successful monograph 

, this volume offers further insight into the impact and legacy of the revolutionary Los Angeles artist and activist.

“Embedding his dreams on canvas and in the community, visionary American artist Noah Davis created a mighty legacy.” —Rachel Willcock, 

Looking to literature, film, architecture, and art history, Noah Davis imbued his ethereal paintings with emotion and imagination. Muted colors, fantastic scenes, and blurred subjects create an intoxicating vision. Attuned to the power of his medium, Davis layered his paintings—figuratively and literally—using a unique dry paint application to depict quotidian life at an enigmatic, almost magical remove. Featuring sumptuous close-ups throughout, this important new book brings into focus the rich, painterly variety and luminous detail of Davis’s canvases.

With a special focus on the groundbreaking Underground Museum, which Noah Davis co-founded with his wife, Karon Davis, 

 includes a special conversation, moderated by Helen Molesworth, between Fred Moten, Glenn Ligon, Thomas Lax, and Julie Mehretu. This renowned group of artists and thinkers shares personal experiences of the powerful and emotional impact of The Underground Museum and its connection to the larger artistic environs of Los Angeles. Franklin Sirmans contributes a new essay, and Lindsay Charlwood, a lifelong friend of Noah’s, authors a chronology of his life, contextualizing his artistic and social achievements.

Noah Davis: In Detail

A detail from a painting by Katherine Bernhardt, titled Escape from New York, dated 2020.

Suzanne Hudson

Dazzling and playful, Katherine Bernhardt’s paintings highlight her fascination with American pop vernacular, from Pokémon and the Pink Panther to Crocs and psilocybin mushrooms.

“Bernhardt has always been impressive for her ability to combine the immediate, seductive properties of paint with the infectious humor of topical pop culture.” —

Bernhardt’s boundless visual appetite has established her as one of the most exciting painters working today. Thinking about the relationship between art, objects, and commerce, Bernhardt spotlights iconic motifs of cartoons and cultural symbols. Colors and lines bleed and pool together, revealing Bernhardt’s brisk and improvisational process. Monumental in size, subject matter, and vibrancy, her works demand attention.

Expanding on the exhibition at David Zwirner, London, in 2022, this catalogue includes additional paintings and works on paper in which Bernhardt develops her ongoing body of work. With many details of paintings, this significant publication gives the artist’s work ample space to play. Suzanne Hudson’s essay considers Bernhardt’s work from an art-historical perspective and explores the artist’s work and life.

featuring a slipcase and a signed, numbered bookplate designed by the artist is available in a limited run of 250 copies.



“[His last paintings] can feel almost like exquisite texts to be read. . . . Their freshness and spontaneity feels like a new beginning.” —Roberta Smith, 

Gerhard Richter: New York 2023

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