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Haring as activist and egalitarian: a fresh, accessible and dynamic look at one of New York‿s most exhilarating artistsLavishly illustrated with essays and reflections by cultural leaders, Keith Haring: Art Is for Everybody surveys Haring‿s dynamic art practice from 1978 to 1990, shining a bright light on the iconic and beloved artist known for his fluid, uniform lines, intricate compositions and repeating imagery such as the barking dog and radiant baby. Forty years after he came to prominence, Haring‿s art continues to garner worldwide recognition, breaking down barriers and spreading joy, while taking on complex issues that remain crucial today, from environmentalism, capitalism and the proliferation of new technologies to religion, sexuality and race. Titled after a quote from Haring‿s journals, Art Is for Everybody centers on the artist‿s activism, the emphasis he placed on community and his egalitarian approach to art and life. The volume is organized chronologically and thematically, emphasizing Haring‿s work made with publics in mind such as the subway drawings and murals, his collaborative practice and his unflinching belief that art is essential in making a better world. Keith Haring was born in Reading, Pennsylvania, in 1958 and arrived in New York from Pittsburgh in 1978, befriending artists including Kenny Scharf and Jean-Michel Basquiat. During the 1980s, Haring achieved international recognition and participated in numerous group and solo exhibitions. After being diagnosed with HIV in 1988, he focused his activism on the AIDS crisis. Less than two years later, Haring died of an AIDS-related illness.

The first major monograph on the visionary nature paintings of the pioneering American modernistThough Joseph Stella is primarily recognized for his dynamic Futurist-inspired paintings of New York, particularly of the Brooklyn Bridge, he was also compelled to express the powerful connection he felt to the natural world, a subject he pursued persistently throughout his career. Visionary Nature presents an overdue examination of this prolific and wide-ranging body of nature-based work. If Stella's cityscapes became symbols of a modern era, his pictures of flowers, plants, birds and trees were rooted in another, more ancient, primal and paradisaical world. Inspired by archaic and classical precedents as well as his own brand of spirituality, these lyrical and exuberant works are also his least understood. By focusing on his unique visual vocabulary and the context in which it developed, Visionary Nature reconsiders how his nature paintings relate to his career, revealing a surprising continuity between seemingly disparate subjects and exploring how these works are reflective of Stella's passionate spirituality. His close affiliation with the natural world shaped a body of work that ranged from vividly realistic to poetically transcendent and visionary in its unique expression. Joseph Stella (1877-1946) was born in Italy and moved to New York City in 1896. He belonged to avant-garde circles on both sides of the Atlantic and achieved international notoriety in the 1910s for his large-scale paintings of modern America. For the remainder of his career, he traveled widely and produced a large body of nature-themed work. He died in 1946 from heart failure.

A thematic introduction to the thriving Miami museum‿s permanent collectionSince its founding in 2014, ICA Miami has established itself as a singular voice in artistic stewardship with a collection that champions leading emerging and established artists. Fire Figure Fantasy revolves around important focal points of ICA Miami‿s collection. Artists working in a wide range of mediums, including McArthur Binion, Lauren Halsey, Rashid Johnson and Martine Syms, draw on conceptualist strategies to critically explore structures that perpetuate injustice. In works by Andra Ursuta, Louise Bonnet, Christina Quarles and Avery Singer, themes of identity, community, and technology are drawn out through explorations of the body, materiality and form. Works by Vivian Caccuri, Tau Lewis, Vaughn Spann and Henry Taylor contend with some of the most pressing issues of our time, while works by Hernan Bas, Tomm El-Saieh and Jared McGriff, among others, reflect the artistic production of Miami artists that the museum has long championed.

How Oppenheimer's complex artworks break down barriers between art, audience and architectureThis publication documents the four interactive artworks by New York-based artist Sarah Oppenheimer (born 1972) created for the Wellin Museum of Art at Hamilton College in the context of her greater artistic oeuvre. Printed in five color with foil stamping, with striking reproductions and contributions by Tracy L. Adler, Suzanne Keen, Sarah Oppenheimer and Seph Rodney, the book explores the artist's multifaceted approach to empathy, agency, audience and cocreation, among many other themes in her work. Oppenheimer considers the space of the museum as a site of experimentation, where visitors experience the curiosity and joy of transforming the artworks themselves. In Oppenheimer's words, "You have to enter the temporal network in order for the work to exist."

The first major monograph on Simone Leigh's multimedia explorations of community, Black feminism and the traditions and material cultures of the African diaspora A New York Times Book Review 2023 holiday gift guide pickOver the past two decades, Simone Leigh has created artwork that situates questions of Black femme-identified subjectivity at the center of contemporary art discourse. Her sculpture, video, installation and social practice explore ideas of race, beauty and community in visual and material culture. Leigh's art addresses a wide swath of historical periods, geographies and traditions, with specific references to materials across the African diaspora, as well as forms traditionally associated with African art and architecture.This publication includes substantial new scholarship addressing Leigh's work across mediums and topics. The volume, timed with the artist's first museum survey and national tour, includes contributions by her longtime collaborators, new scholars who add diverse insights and perspectives, and a conversation highlighting Leigh's voice. Additionally, generous and lushly illustrated plates feature her critically acclaimed work for the 59th Venice Biennale and works made throughout her 20-year career. A special section featuring Leigh's research images gives access to Leigh's research methodologies and encourages readers to fully engage with all aspects of Leigh's work. This monograph provides a timely opportunity to gain a holistic understanding of the complex and profoundly moving work of this groundbreaking artist.Born in Chicago in 1967, Simone Leigh received a BA in fine art with a minor in philosophy from Earlham College, Richmond, Indiana, in 1990. In 2022, Leigh represented the United States at the 59th Venice Biennale with her critically acclaimed exhibition Sovereignty. She has had solo presentations at the Kitchen, New York (2012); Creative Time, New York (2014); New Museum of Contemporary Art, New York (2016); Hammer Museum, Los Angeles (2016); and the High Line, New York (2019); among other venues. Leigh lives and works in Brooklyn.

"The objects, papers, and artifacts from Leonard Cohen's personal archive provide fresh insight into the artist's creative pursuits and the arc of his career over six decades. Aware from an early age that he was destined to make a mark on this world, Cohen preserved an expansive collection of personal letters, journals, manuscripts, sketches, and photographs. This densely illustrated book weaves together beautiful reproductions of these rarely seen documents with interviews and essays that provide greater context for the evolution of his public and private life."--Provided by publisher.

The most comprehensive survey of Weems' genre-defying oeuvre yet publishedOne of the most influential American artists working today, Carrie Mae Weems has investigated narratives around family, race, gender, sexism, class and the consequences of power for more than 40 years. Her complex oeuvre-always ahead of its time, and profoundly formative for younger generations of artists-has employed photography (for which she is best known), fabric, text, audio, digital images, installation and video. Writing in the New York Times, Holland Cotter succinctly described Weems as "a superb image maker and a moral force, focused and irrepressible."This volume, spanning four decades of work, is the most thorough survey yet published. It includes Weems' earliest series, such as Family Pictures and Stories, for which she photographed her relatives and close friends; the legendary Kitchen Table Series, in which she posed in a domestic setting; and other critically acclaimed works and series such as Ain't Jokin', Colored People, From Here I Saw What Happened and I Cried, Not Manet's Type, The Jefferson Suite, Monuments, Roaming, Museums, Constructing History (A Class Ponders the Future), Slow Fade to Black and the Obama Project, among many others. Contextualizing these pieces are essays by LaCharles Ward and Fred Moten and a chronology by Raul Muñoz. The book also includes a visual essay by Weems that presents a personal selection of her own works from the artist's perspective. The accompanying exhibition is organized by Fundación MAPFRE in collaboration with Fundación Foto Colectania, Barcelona and Württembergischer Kunstverein, Stuttgart, where the exhibition Carrie Mae Weems. The Evidence Of Things Not Seen took place from April 2 through July 10, 2022. Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.

A celebratory visual chronicle of the many ways in which Black Americans have used portraiture to envision themselvesSpanning over two centuries from around 1800 to the present day, Black American Portraits chronicles the ways in which Black Americans have used portraiture to envision themselves in their own eyes. Remembering Two Centuries of Black American Art, curated by David C. Driskell at LACMA 45 years ago, this book is a companion to the exhibition of the same name that reframes portraiture to center Black American subjects, sitters and spaces. This selection of approximately 140 works from LACMA's permanent collection highlights emancipation, scenes from the Harlem Renaissance, portraits from the Civil Rights and Black Power eras, multiculturalism of the 1990s and the spirit of Black Lives Matter. Countering a visual culture that often demonizes Blackness and fetishizes the spectacle of Black pain, these images center love, abundance, family, community and exuberance. Black American Portraits depicts Black figures in a range of mediums such as painting, drawing, prints, photography, sculpture, mixed media and time-based media. In addition to work by artists of African descent, Black American Portraits includes several works by artists of other backgrounds who have exemplified a thoughtfulness about, sensitivity toward and commitment to Black artists, communities, histories and subjects. Artists include: Alvin Baltrop, Edward Biberman, Bisa Butler, Jordan Casteel, Njideka Akunyili Crosby, Bruce Davidson, Stan Douglas, rafa esparza, Shepard Fairey, Charles Gaines, Sargent Claude Johnson, Deana Lawson, Kerry James Marshall, Alice Neel, Lorraine O'Grady, Catherine Opie, Amy Sherald, Ming Smith, Henry Taylor, Tourmaline, Mickalene Thomas, James Van Der Zee, Carrie Mae Weems, Charles White, Kehinde Wiley and Deborah Willis.

A visual and literary meditation juxtaposing Isaac Julien's artworks with archival images of Frederick Douglass and essays that consider his enduring legacyThis sumptuously illustrated artist's book and reader documents Lessons of the Hour (2019), the ten-screen film installation and series of related photographic artworks by the internationally acclaimed artist Isaac Julien CBE RA (born 1960), which honor the public and private life of one the most important figures in US history: Frederick Douglass. The visionary African American orator, philosopher, intellectual and self-liberated freedom fighter was born into slavery in Maryland and went on to develop a remarkable aesthetic theory through his thinking and writing on abolitionism and Black self-representation through the apparatus of photography. Isaac Julien: Lessons of the Hour - Frederick Douglass takes the reader on a journey through Douglass' life and thinking, and is a vital consideration of his political and aesthetic legacy.

Ritchie locates patterns in an unpredictable universe, with garden and flood serving as metaphors for growth and destructionRenowned New York‿based interdisciplinary artist Matthew Ritchie (born 1964) seeks to visualize thought, connecting such fields as philosophy and mythology, epic poetry and science fiction, and history and physics, through installations of paintings, wall drawings, light boxes, games, sculpture, films and performance works. His works challenge social fragmentation by suggesting a unified theory of everything. Published for an exhibition at the Frist Art Museum, A Garden in the Flood examines a selection of his paintings, architectural structures, elaborate diagrams and hallucinatory video animations (which notably include a collaboration with the Grammy Award‿winning Fisk Jubilee Singers). Employing “gardenâ€? and “floodâ€? as metaphors for growth and destruction, transformation and renewal, Ritchie encourages readers to “reimagine the role art could play in whatever form of society may emerge next.â€?

A career-spanning overview of Dupont‿s multimedia interrogations of surveillance culture and technological ubiquityThis definitive volume, spanning more than two decades, surveys the works and writings of New York‿based artist Richard Dupont (born 1968), and their prescient bearing on a paradigm-shifting period of technological and cultural transformation. Much of Dupont‿s work stems from a complete digital model of his body created between 2002 and 2004 and 3D body scans obtained while participating in a US military anthropometry study. This overview reveals how Dupont‿s work mirrors digital technology‿s infiltration of our lives and the extent to which the commodification and virtualization of the body have become commonplace in our culture of “self-surveillance.â€?Illustrations emphasize his works‿ physical aspect, where traditional materials and techniques such as plaster and bronze casting play a role, as do the use of experimental techniques and materials such as cast polyurethane, poured silicone, 3D-printed resins, digital scanning and the manipulation of found objects.

"Known for her daring fusion of marquetry (wood inlay) and painting, the meticulously crafted works of Alison Elizabeth Taylor are as much about seeing as they are about making. Juxtaposing the luxurious connotations of this ancient, highly refined craft with gritty images of postmillennial American life, Taylor creates a tension between surface and subject, appearance and reality. This publication traces the evolution of the artist's work from early paintings that explore space, line, color and form within the limited palette afforded by the grains and tones of natural woods, to vividly colored 'hybrids' that layer marquetry, paint, and photographic imagery, to new and increasingly complex works inspired by the resilience of the artist's urban neighborhood and community during the pandemic."--

The extraordinary journey of an "impossible" sculpture made from the negative form of an ancient Korean gateIn 2006, London-based Korean artist Do Ho Suh (born 1962) began work on a seemingly impossible project-to "make something out of nothing," casting the negative form of a traditional Korean gate in solid acrylic resin. Portal would take nearly a decade to complete, and would provide the site for fundamental developments in Suh's thinking on the role of both artist and museum in the 21st century, as well as the relationship between East and West. This volume tells the epic story of that process through those who made it possible. Through color illustrations and texts, it provides unique access to the typically veiled fabrication process: the process of scanning, modelling and constructing a nine-ton sculpture that would appear as if it was not there, a "living ghost image" cast from negative space.

"This is the first overview of the work of Jimmy DeSana, a pioneering yet underrecognized figure in New York's downtown art, music and film scenes during the 1970s and 1980s. The book situates DeSana's work and life within the countercultural and queer contexts in the American South as well as New York, through his involvement in mail art, punk and No Wave music and film, and artist collectives and publications. DeSana's first major project was 101 Nudes, made in Atlanta during the city's gay liberation movement. After moving to New York in 1973, DeSana became immersed in queer networks, collaborating with General Idea and Ray Johnson on zines and mail art, and documenting the genderqueer street performances of Stephen Varble. By the mid-1970s, DeSana was a fixture in New York's No Wave music and film scenes, serving as portraitist for much of the period's central figures and producing album covers for Talking Heads, James Chance and others. His book Submission, made with William S. Burroughs, humorously staged scenes out of a S&M manual that explored the body as object and the performance of desire. DeSana was also an early adopter of color photography, creating his best-known series, Suburban, in the late 1970s and early 1980s. This body of work explores relationships between gender, sexuality and consumer capitalism in often humorous, surreal ways. After DeSana became sick as a result of contracting HIV, he turned to abstraction, using experimental photographic techniques to continue to push against photographic norms."--

In 'The Space Between', a generative period in Korean art between the traditional and the contemporary is illuminated comprehensively for the first time. After the centuries-long Joseon dynasty came 35 uninterrupted years of the Japanese colonial period (1910-45) followed by the Korean War (1950-53). During this tumultuous time, Korean artists grappled with issues such as identity and nationalism and experimented with a broad range of media. The book is organized into five categories: The Modern Encounter- foreign influences enter the country in a significant way in the late 19th and early 20th centuries; The Modern Response- how foreign methods are accepted or rejected; The Pageantry of the New Woman (Sinyeoseong) Movement- modern women's attitudes; The Modern Momentum- advances in using foreign styles; and Evolving into the Contemporary- a glimpse into the contemporary. Most notable during this period are the introductions of photography, sculpture and oils, which arrived via Japan and came to define modern art in Korea. At the same time, traditional ink painting reinvented itself: works grew larger in scale while keeping traditional landscape motifs with alterations in the use of color and composition. Artists of modern ink believed that theirs was the true future of modern art, unsullied by elements found in the West. By the end of the Korean War, the magnified status of the US made way for access to American abstract art and, indirectly, European informel. For nearly a decade, abstract expressionist and informel styles dominated Korean art. The volume concludes in the 1960s, setting the stage for contemporary art in Korea. Exhibition: Los Angeles County Museum of Art, USA (11.09.2022 - 19.02.2023).

A revelatory compendium of eucalyptus bark painting, rarely seen by Western audiencesThis volume chronicles the rise of a globally significant art movement, as told from the perspective of the Yolngu people of northeastern Australia. It presents more than 90 iconic paintings on eucalyptus bark, many of which have never been seen outside of Australia. For millennia, Yolngu people around Yirrkala in northern Australia have painted their sacred clan designs on their bodies and ceremonial objects. These designs-called miny'tji-are not merely decorative: they are the sacred patterns of the ancestral land itself. Yolngu people describe them as madayin: a term that encompasses both the sacred and the beautiful. With the arrival of Europeans in the 20th century, Yolngu people turned to the medium of painting on eucalyptus bark with ochres. The result was an outpouring of creativity that continues to this day as artists find new and innovative ways to transform their ancient clan designs into compelling contemporary statements that are chronicled in this singular publication. Authors include: Andrew Blake, David Burrumarra MBE, Steve Fox, Gunybi Ganambarr, Manydjarri Ganambarr, Yinimala Gumana, Jason Guwanbal Gurruwiwi, Djambawa Marawili AM, Nonggirrnga Marawili, Dhuwarrwarr Marika, Wanyubi Marika, Baluka Maymuru, Paul Wutjin Maymuru, Naminapu Maymuru-White, Frances Morphy, Howard Morphy, Barayuwa Mununggurr, Marrnyula Mununggurr, Rerrkirrwanga Mununggurr, Wäka Mununggurr, Buwathay Munyarryun, Eleanore Neumann, Will Stubbs, Dhukumul Wanambi, Dhukal Wirrpanda, Liyawaday Wirrpanda, Dela Yunupingu, Djerrkngu Yunupingu and Yälpi Yunupingu.

The overlooked yet vibrant history of Black participation in American film, from the beginning of cinema through the civil rights movementFrom the dawn of the medium onward, Black filmmakers have helped define American cinema. Black performers, producers and directors-Bert Williams, Oscar Micheaux, Herb Jeffries, Lena Horne, Dorothy Dandridge, Ruby Dee and William Greaves, to name just a few-had a vast and resounding impact. Black film artists not only developed an enduring independent tradition but also transformed mainstream Hollywood, fueled and reflected sociopolitical movements, captured Black experience in all its robust complexity, and influenced generations to come. As harrowing as it is beautiful, this history of Black cinema and its legacy is often overlooked. Regeneration accompanies a first-of-its-kind exhibition at the Academy Museum of Motion Pictures exploring seven decades of Black participation in American cinema. Amplifying this underrepresented history in colorful and striking detail, the book features an in-depth curatorial essay and scholarly case-study texts on topics such as early Black independent filmmaking, Black spectatorship during the Jim Crow era and home movies as an essential form of Black self-representation. The volume also makes meaningful connections to the present through interviews with award-winning contemporary Black filmmakers Charles Burnett, Julie Dash, Ava DuVernay, Barry Jenkins and Dawn Porter. An extensive filmography and chronology offer an essential resource for anyone interested in Black cinema, while images of contemporary visual artworks further illustrate the volume throughout.

How artists from Paul Klee and Mierle Laderman Ukeles to Faith Ringgold and Deborah Roberts have explored childhood themes of innocence, spontaneity and storytellingArtists have long been inspired by children‿by their imagination, creativity and unique ways of seeing and being in the world‿and have made work that depicts and involves children as collaborators, that represents or mimics their ways of drawing or telling stories, that highlights their unique cultures, and that addresses ideas of innocence and spontaneity closely associated with children. To Begin Again: Artists and Childhood surveys how artists have reflected on and contributed to notions of childhood from the early 20th century to the present. The works in To Begin Again offer distinctive viewpoints and experiences, revealing how time and place, economics and race, and representation and aesthetics fundamentally shape how we experience and understand early development. The catalog underscores that while there is no single, uniform idea of childhood, it is nevertheless the ground upon which so much of society is built, negotiated and imagined. Artists include: Ann Agee, John Ahearn, Njideka Akunyili Crosby, Francis Alÿs, Jean-Michel Basquiat, Brian Belott, Jordan Casteel, Lenka Clayton, Allan Rohan Crite, Henry Darger, Karon Davis, Robert Gober, Jay Lynn Gomez, Trenton Doyle Hancock, Duane Hanson, Mona Hatoum, Sharon Hayes, Ekua Holmes, Mary Kelly, Paul Klee, Justine Kurland, Helen Levitt, Tau Lewis, Glenn Ligon, Oscar Murillo, Rivane Neuenschwander, Berenice Olmedo, Charles Ray, Faith Ringgold, Deborah Roberts, Tim Rollins and K.O.S., Rachel Rose, Heji Shin, Sable Elyse Smith, Becky Suss, Mierle Laderman Ukeles, Cathy Wilkes and Carmen Winant.

A captivating selection of family snapshots taken from his mother's photo albums, Michael Snow's latest artist's book illuminates patterns and motifs in the passage of timeOver the past half-century, through works such as the milestone avant-garde film Wavelength (1967), Toronto-based artist Michael Snow (born 1928) has explored the nature of perception, consciousness, language and temporality. This last theme is particularly relevant to his latest artist's book, which is dedicated to the life of his adventurous mother, Marie-Antoinette Françoise Carmen Levesque Snow Roig, whose trove of family photographs provide a narrative throughline here. Snow consolidates his mother's photo albums, presenting a total of 1,500 images. In a tenderly penned foreword, he explains the simple impetus for the project: "[The photographs] are so beautiful and so historic that I wish to share them with others." While he has integrated small samples of these albums into his work before-notably figuring in his landmark catalog for the Art Gallery of Ontario in 1970, Michael Snow/A Survey-this volume provides a much larger and more unified selection. As a result, the compiled images tell a more complete biographical story-one that Snow leaves intact on the surface. He brings his own layer of interpretation to the photographs by drawing out patterns within the collection and his mother's writing. Snow creates an album that is fully his own, embracing, as art historian Martha Langford describes, a "deep understanding and surrender to form."

Thirty-five years of South African artist William Kentridge‿s dynamic, cross-genre art, with essays by Ann McCoy, Zakes Mda, and Ed Schad, a conversation between the artist and Walter Murch, and an unpublished lecture by Kentridge. This far-reaching book presents Kentridge‿s dynamic art practice, which originates in charcoal drawing and expands into intersections with film, sculpture, opera and theater performances, printmaking and many other mediums. The volume is organized chronologically and thematically, emphasizing Kentridge‿s destabilizing of South African and global narratives through openness to uncertainty, the generative power of the artist‿s studio and perpetual change, all as conditions for illuminating repressed and silenced voices in historical records. An essay by curator Ed Schad is presented along with studio photography, archival material and illuminating illustrations of Kentridge‿s work, joining essays by globally recognized literary figures and thinkers Zakes Mda and Ann McCoy. Notably, the volume features a conversation between Kentridge and the famous film and sound editor Walter Murch, as well as a never-before-published lecture by the artist. The work of William Kentridge (born 1955) has been seen in museums and galleries around the world since the 1990s, including the Museum of Modern Art in New York, the Albertina Museum in Vienna, Musée du Louvre in Paris, Whitechapel Gallery in London, Louisiana Museum in Copenhagen, the Reina Sofia museum in Madrid, the Kunstmuseum in Basel and Zeitz MOCAA and the Norval Foundation in Cape Town. Opera productions include Mozart‿s The Magic Flute, Shostakovich‿s The Nose and Alban Berg‿s operas Lulu and Wozzeck. In 2016 Kentridge founded the Centre for Less Good Idea in Johannesburg, a space for responsive thinking and making through experimental, collaborative and cross-disciplinary art practices. The center hosts an ongoing program of workshops, public performances and mentorship activities.

Published to contextualize Sarah Sze's (born 1969) outdoor work Fallen Sky and the accompanying installation Fifth Season at Storm King Art Center, this book includes an overview of the work in relation to Sze's larger practice. Also included is a discussion between Sze and artist Katharina Grosse to discuss Fallen Sky and thematic parallels in their respective work. Eight contributing authors from across disciplines of fiction, poetry, art history and cultural criticism contribute creative pieces in response to Sze's work. The publication also includes photographs of Fallen Sky taken over the course of a full year, capturing the dynamic seasonality of the artwork and the context of Storm King's environment. Installation photography illustrates Fallen Sky's ability to reflect movement and to depict how the landscape behaves and changes over time, the work's appearance shifting continuously depending on the season, time of day and weather. Exhibition: Storm King Art Center, New Windsor, USA (26.06. - 08.11.2021).

In 'Joan Didion: What She Means', the writer and curator Hilton Als creates a mosaic that explores Didion's life and work and the feeling each generates in her admirers, detractors and critics. Arranged chronologically, the book highlights Didion's fascination with the two coasts that made her. As a Westerner transplanted to New York, Didion was able to look at her native land, its mores and fixed rules of behavior, with the loving and critical eyes of a daughter who got out and went back. (Didion and her late husband moved from New York to Los Angeles in 1964, where they worked as highly successful screenwriters, producing scripts for 1971's The Panic in Needle Park and 1976's A Star Is Born, among other works, before returning to New York 20 years later.) And from her New York perch, Didion was able to observe the political scene more closely, writing trenchant pieces about Clinton, El Salvador and most searingly the Central Park Five. The book includes 50 artists ranging from Brice Marden and Ed Ruscha to Betye Saar, Vija Clemins and many others, with works in all mediums including painting, ephemera, photography, sculpture, video and film. Also included are three previously uncollected texts by Didion: "In Praise of Unhung Wreaths and Love" (1969); a much-excerpted 1975 commencement address at UC Riverside; and "The Year of Hoping for Stage Magic" (2007).

"The Caribbean diaspora is a global phenomenon that transgresses political boundaries, identities, and histories. Forecast Form: Art in the Caribbean Diaspora 1990s-Today challenges conventional representations of Caribbean art, focusing on art of the diaspora rather than art defined by static geographic, ethnic, linguistic, and historical categories. Featuring essays by a group of multi-dimensional authors and works by an intergenerational group of artists living and working in the United States, Puerto Rico, Canada, Great Britain, France, the expanded Caribbean Basin, and the island nations of the Caribbean, the catalogue is informed by Caribbean intellectual traditions, diaspora studies, and Black and alternative geographies of fugitivity"--

The world of advertising has changed drastically over the last century. Marketers have shifted from selling physical objects to promoting lifestyles, brands and aspirations. Likewise, contemporary photographers have transformed the way they respond to advertising and the way they manipulate its visual language. This collection of important works by an international cadre of innovative artists traces the dialogue between art and advertising from the 1970s to the present. It offers arresting images from leading conceptual artists such as Chris Burden, Victor Burgin, Sherrie Levine and Richard Prince. We see how DIS, Roe Ethridge, Victoria Fu and Kim Schoen take on contemporary consumer culture, branding and lifestyle creation. Finally, this book looks at how, as artists delve deeper into commercial strategies, advertisers have begun to call upon them to apply their signature styles to media campaigns--and further blur the lines between fine art and consumerism. Exhibition: Los Angeles County Museum of Art, USA (04.09.-18.12.2022).

"A convergence of science and art, maps held a very important place in the Netherlands in the seventeenth century, and they were of particular interest to Vermeer, who had something of an obsession with them. Of the thirty-four paintings attributed to him, nine have wall maps and other cartographic objects in them, and this fascination with maps has long intrigued scholars. Other painters of his time were drawn to maps, but none painted them with such precision. This first book to fully explore this intriguing aspect of this beloved artist's work will greatly enrich our understanding of him"--

Artworks from the early 1990s through the present examine the many ways that love is understood, expressed or left unspokenThis volume features more than 35 diverse and multigenerational artists, exploring themes that grapple with some of the most firmly rooted concepts of love, including the union of two people and their co-belonging in a shared destiny, the ties that bind family and friends, and loving practice that comes from action, intention and commitment to promote the worth and well-being of community. Artists include: Ghada Amer, Rina Banerjee, Thomas Barger, Patty Chang, Susanna Coffey, James Drake, Keith Edmier and Farrah Fawcett, Alanna Fields, Dara Friedman, Andrea Galvani, General Idea, Jeffrey Gibson, Felix Gonzalez-Torres, Kahlil Robert Irving, Tomashi Jackson, María de los Angeles Rodríguez Jiménez, Rashid Johnson, Gerald Lovell, Rafael Lozano-Hemmer, Kerry James Marshall, Felicita Felli Maynard, Wangechi Mutu, Ebony G. Patterson, Paul Pfeiffer, Magnus Plessen, Gabriel Rico, Dario Robleto, RongRong&inri, Michelle Stuart, Vivian Suter, Jana Vander-Lee, Carrie Mae Weems and Akram Zaatari.

With a wealth of images and commentary, this is the essential career survey of Cave's socially responsive artThe definitive volume on the ever-evolving and shape-shifting work of the Chicago-based artist, Nick Cave: Forothermore highlights the way Cave's practice has shifted and continues to shift in response to our history and current moment of cultural crisis. Including several new, never-before-seen works, the book shows an artist at the height of his power.Addressing topics ranging from art history to social justice, Nick Cave: Forothermore includes essays from Naomi Beckwith, Romi Crawford, Antwaun Sargent, Malik Gaines, Krista Thompson and Meida Teresa McNeal. Punctuating these contributions are interviews with the artist exploring his life, work and teaching practice, as well as a roundtable discussion between Cave and dancer Damita Jo Freeman, musician Nona Hendryx and publisher Linda Johnson Rice on Cave's art and influences, as well as pivotal cultural phenomena from Soul Train to Ebony magazine. Nick Cave: Forothermore reveals the way art, music, fashion and performance can help us envision a more just future.Nick Cave (born 1959) is an artist and educator working between the visual and performing arts through a wide range of mediums, including sculpture, installation, video, sound and performance. Cave is well known for his Soundsuits, sculptural forms based on the scale of his body, initially created in direct response to the police beating of Rodney King in 1991. Cave has had major exhibitions at MASS MoCA (2016), Cranbrook Art Museum (2015), Saint Louis Art Museum (2014-15), ICA Boston (2014), Denver Art Museum (2013), Seattle Art Museum (2011) and the Yerba Buena Center for the Arts (2009), among others. Cave lives and works in Chicago.

A visual and conceptual conversation between two leading US photo-artists famed for their mutual explorations of race, class and powerDawoud Bey and Carrie Mae Weems met in New York in the late 1970s, and over the next 45 years these close friends and colleagues have each produced unique and influential bodies of work around shared interests and concerns. This publication brings together over 140 photographs and video art from the 1970s through the 2010s by two of our most notable and influential photo-based artists.Since first meeting at the Studio Museum in Harlem five decades ago, Bey and Weems have maintained spirited and supportive mutual engagement while exploring and addressing similar themes: race, class, representation, and systems of power. Dawoud Bey & Carrie Mae Weems: In Dialogue brings their work together in five thematic groupings to shed light on their unique creative visions and trajectories, and their shared concerns and principles.Photographer Dawoud Bey (born 1953) had his first exhibition at the Studio Museum in Harlem in 1979. Since then, his work has been presented internationally to critical and popular acclaim. Recent large-scale exhibitions of his photographs have been presented at the San Francisco Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago and Tate Modern, London. Bey's writings on his own and others' work are included in Dawoud Bey: Seeing Deeply and Dawoud Bey on Photographing People and Communities. He is a professor of art and Distinguished College Artist at Columbia College Chicago.Famed for her Kitchen Table Series, among other works, Carrie Mae Weems (born 1953) explores power, class, Black identity, womanhood, and the historical past and its resonance in the present moment. In addition to photography, Weems creates video, performance and works of public art, and organizes thematic gatherings which bring together creative thinkers across a broad array of disciplines. Her work has been exhibited across the world, at venues such as the Frist Center for the Visual Arts, the Solomon R. Guggenheim Museum, the Centro Andaluz de Arte Contemporáneo and the American Academy in Rome.

This powerful collection highlights the importance of snapshots in Black American life: as tools to challenge stereotypes, and as a way to document family and cultureThoughtfully illustrated, this volume highlights a selection of photographs of African American family life between the 1970s and the early 2000s--pictures that were lost by their original owners and then found by the artist Zun Lee on a street in Detroit in 2012, marking the beginning of the Fade Resistance collection of more than 4,000 Polaroids. Lee describes the collection as an important record of Black visual self-representation and a means to "reflect the way Black people saw themselves on their terms--without the intention of being seen, or judged, by others." To Lee, these powerful photographs are an expression of "Black life mattering."These vivid images chronicle milestones such as weddings, birthdays and graduations, as well as quiet daily moments, offering contemporary views long ignored or erased by mainstream culture. Together, these works highlight the role snapshots have played in Black life, as tools to challenge stereotypical portrayals and as a means to memorialize family, culture and heritage.Topics such as self-representation, visual history and the social power of photographs are addressed in critical texts by Sophie Hackett, Stefano Harney, Zun Lee and Fred Moten, and an original contribution by celebrated poet Dawn Lundy Martin.