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This comprehensive monograph brings together over 100 works spanning five decades of Thomas Schütte's career and examines his artistic production across multiple disciplines. The Düsseldorf-based sculptor, draftsman, model maker, and sometime architect Thomas Schütte works in scales ranging from the minuscule to the monumental. His art addresses the mechanisms of power, the fall of empire, and end-of-world narratives generated by a culture of societal alienation. Over the past five decades, Schütte's work has continued its powerful critique of the Western world and today takes on renewed urgency. Published in conjunction with the first museum survey of the artist's work in the United States in over 20 years, Thomas Schütte presents a holistic overview of his career from 1975 to the present. Taking aesthetics, form, and history as its focus, the publication featuring sculptures, drawings, prints, and experiments in architecture, alongside revelatory archival materials that have never been published before. Essays by Paulina Pobocha, Jennifer Allen, and André Rottmann provide historical and theoretical pathways into the complexity of Schutte's oeuvre, and contributions by artists Marlene Dumas and Charles Ray reflect on Schutte's significance through close readings of his work.

Published in conjunction with the first comprehensive museum survey dedicated to the artist, LaToya Ruby Frazier: Monuments of Solidarity presents the full range of her practice and includes rarely seen and brand-new bodies of work. For more than two decades, the artist-activist LaToya Ruby Frazier has used photography, text, moving images, and performance to revive and preserve forgotten narratives of labor, gender, and race in the postindustrial era. Frazier has cultivated a practice that builds on the legacy of the social documentary tradition of the 1930s, the photo-conceptual forays of the 1960s and 1970s, and the work of socially conscious writers like Upton Sinclair, James Baldwin, and bell hooks. Monuments of Solidarity celebrates the creativity and collaboration that persist in the face of industrialization and deindustrialization, racial and environmental injustice, gender disparities, unequal access to health care and clean water, and the erosion or denial of fundamental human rights. A form of Black feminist world-building, Frazier¿s nontraditional ¿monuments¿ demand recognition of the crucial role that women and people of color have played, and continue to play, in histories of labor and the working class. Published in conjunction with the first comprehensive museum survey dedicated to the artist, LaToya Ruby Frazier: Monuments of Solidarity presents the full range of her practice and includes both rarely seen and brand-new bodies of work. An illuminating overview essay by the exhibition¿s curator, Roxana Marcoci, is accompanied by a manifesto by the artist and a suite of focused essays by other curators and scholars.

Profiles of fourteen women who transformed the country's foremost modern art museum in its fledgling yearsFounded in 1929, the Museum of Modern Art owes much of its early success to a number of remarkable women who shaped the future of the institution in its first decades. As founders, patrons, curators and directors of various departments, these figures boldly defied societal norms to launch this radical venture during the depths of the Great Depression. They were fortunate in the freedoms afforded by uncharted territory; because the notion of a museum of modern art was new, there was a conspicuous absence of the professional prerequisites, official structures and respectable salaries that would have limited the jobs to men. This left the door open for a host of women to define their own roles and invent new fields. This book profiles 14 pioneering figures who made an indelible mark not only on MoMA, but on the culture of their time. Inventing the Modern transports the reader to the grit and glamour of midtown Manhattan in the 1930s and '40s. It deepens our understanding of MoMA's history and contributes to a broader understanding of women's achievement in the 20th century.Subjects include: Abby Aldrich Rockefeller, Lillie P. Bliss, Mary Quinn Sullivan, Margaret Scolari Barr, Ernestine Fantl, Iris Barry, Elodie Courter, Sarah Newmeyer, Dorothy Miller, Dorothy Dudley, Nancy Newhall, Elizabeth Mock, Olga Guggenheim, Jean Volkmer.

This catalogue accompanies the first major exhibition on Käthe Kollwitz in the U.S. in more than thirty years, and the first presentation at a New York City museum. In the early decades of the twentieth century, when many artists were experimenting with the language of abstraction and the leading figures were almost exclusively men, Käthe Kollwitz (German, 1867¿1945) achieved unlikely renown for her figurative prints focusing on the hardships of women and the working class. Convinced that printed art was the most effective organ of social criticism, she developed into one of history¿s most outstanding graphic artists. Published in conjunction with the first major international loan exhibition of her work in the U.S. in more than thirty years, and the first major presentations at a New York City museum, this catalogue traces the development of Kollwitz¿s career from the 1890s until her death in 1945, showcasing approximately 130 extraordinary and rarely seen examples of her work in prints, drawings, and sculpture.

Published in conjunction with the most comprehensive retrospective in the U.S. of the artist Joan Jonas, spanning more than 50 years of her remarkable career. Since her earliest performances in the late 1960s, Joan Jonas has concerned herself with animation and moving images, asking what it means to move images, or to be moved by images. The artist returns constantly to her ever-expanding archive of images, sounds, gestures, ideas, and places reworking those materials into new forms across the decades. Published in conjunction with the artist¿s most comprehensive retrospective in the United States, this catalogue spans more than fifty years of her remarkable career and features works in all media, including videos, drawings, notebooks, photographs, and major installations and performances.

An artist¿s book by Grace Wales Bonner, featuring works in the collection of The Museum of Modern Art, New York. On the occasion of the exhibition Artist¿s Choice: Grace Wales Bonner, MoMA will publish an artist¿s book titled Grace Wales Bonner: Dream in the Rhythm¿Visions of Sound and Spirit in the MoMA Collection, assembled by Wales Bonner as ¿an archive of soulful expression.¿ Through an extraordinary selection of nearly eighty works from the Museum¿s collection and archives, this unique volume will draw multisensory connections between pictures and poems, music and performance, hearing and touch, gestures and vibrations and bodies in motion. Photographs, scores, and performance documentation will be juxtaposed with signal texts by Black authors spanning the past century, including Amiri Baraka, Nikki Giovanni, Langston Hughes, June Jordan, Robin Coste Lewis, Ishmael Reed, Greg Tate, Jean Toomer, Quincy Troupe, and Lynette Yiadom-Boakye. The result is a deeply personal meditation on and around modern Black expression.

This latest volume in the MoMA One on One series focuses on Clara Porset¿s Butaque chair (c. 1957), the only object designed by a Latin American currently on view at the Museum. Clara Porset is one of the most important Latin American designers of the twentieth century. Though born in Matanzas, Cuba, Porset spent most of her life in Mexico, and throughout her career as a designer, writer, and teacher, she challenged social conventions during a time that offered few opportunities for the professional development of women. Her designs bridge the functional rationalism of modernism with traditional craft techniques and traditional materials, resulting in a novel type of production. Her Butaque Chair, recently acquired by The Museum of Modern Art in 2021, is the only object designed by a Latin American currently on view at MoMA. In this latest volume of the MoMA One on One series, scholar and curator Ana Elena Mallet explores Proset¿s idea that the Butaque is a ¿living design¿ and broadens our understanding of Latin American design.

An-My Lê: Between Two Rivers is the most comprehensive account of the artist¿s career to date, encompassing three decades of her work across photographs, embroideries, videos, and installations. An-My Lê¿s entire body of work considers cycles of global history and conflict, contemplating the impact of displacement, politics, and the sensationalizing of warfare. Born in Vietnam in 1960, Lê came to the United States in 1975, after the fall of Saigon, as a political refugee. Published to accompany the artist¿s first museum survey in New York, An-My Lê: Between Two Rivers is the first publication to present Lê¿s practice across photographs, embroideries, video and installations from over three decades of her career. From her earliest group of works, Viêt Nam (1994¿98), a series of black-and-white photographs taken when she first returned to Vietnam, to her well-known series of intentionally ambiguous landscape photography, Between Two Rivers presents all seven of the artist¿s photographic series alongside textiles, installations, and rediscovered films. The two rivers in the title refer to the Mekong and Mississippi river deltas¿subjects that Lê has inflected with her own experiences of war and displacement. An overarching essay by curator Roxana Marcoci examines the full sweep of Lê¿s creative practice, and is followed by four focused thematic essays by scholars La Frances Hui, Joan Kee, Thy Phu, and Caitlin Ryan, and two creative texts by authors Monique Truong and Ocean Vuong.

This publication and the accompanying exhibition are the first to reunite major works from Picassös studio in Fontainebleau, France, in over 100 years. Between July and September of 1921, in a rented villa in the town of Fontainebleau, France, Pablo Picasso created an astonishingly varied body of work. Published to accompany an exhibition at The Museum of Modern Art, New York, that reunites these works for the first time since they left the artist¿s studio, Picasso in Fontainebleau presents both monumental versions of Three Musicians and Three Women at the Spring alongside other major works on canvas, small preparatory paintings, line drawings, etchings, and pastels he created in Fontainebleau. Encompassing both Cubist and classic academic styles, these works are complemented by never-before-seen photographs and archival documents. An introductory essay by curator Anne Umland examines the critical issues that distinguish Picasso's Fontainebleau oeuvre, and is followed by 15 short essays co-authored by curators and conservators that offer art historical analysis of groups of closely related works and object-based insights into materials, structures, and processes. By investigating Picassös decision to paint simultaneously in seemingly opposite styles, Picasso in Fontainebleau emphasizes the interconnectedness of his process and practice, and his ability to disrupt expectations of artistic evolution and stylistic consistency.

An exhibition catalogue that features the work of master printer and publisher Jacob Samuel (American, b. 1951), and highlights his collaborations with contemporary artists Including Mona Hatoum, Rebecca Horn, Jannis Kounellis, Wangechi Mutu, Barry McGee, and Christopher Wool. Over the course of four decades, master printer and publisher Jacob Samuel (American, b. 1951) collaborated with some of the most influential artists of the 20th and 21st century¿including painters, sculptors, performance artists, and musicians¿to make etchings that reflected their overall artistic practices. Through a traditional but maximally flexible approach, he was driven to prove that etching could be a successful contemporary medium. The breadth, variety, and creativity in the works he published is evidence of his success in bringing the tradition of old master printmaking to contemporary artistic practices. Published in conjunction with an exhibition that draws from his entire catalogue of more than 60 projects, New Ground presents select works by a diverse range of artists, including Mona Hatoum, Rebecca Horn, Jannis Kounellis, Wangechi Mutu, Barry McGee, and Christopher Wool. The richly illustrated catalogue features an essay by curator Esther Adler, interviews with thirteen of the artists Samuel has worked with, and a highly researched checklist detailing every project published by Jacob Samuel.

This latest volume in the MoMA One on One series focuses on Frank Lloyd Wright¿s Broadacre City Project (1934¿1935). Frank Lloyd Wright¿s proposal for Broadacre City (1929¿35) put forth a remarkable claim¿that the metropolis was obsolete. In its place, Broadacre was to be a ¿Usonian¿ synthesis, an unprecedented landscape unsullied by convention or history, consisting simply of ¿architecture and acreage.¿ With its low-density carpet of small plots, predominantly one- and two-story buildings, and seemingly infinite territory, the ruralized landscape of Broadacre would sustain new levels of individuality and freedom, far more democratic than a traditional metropolis could ever support. Yet the 4-square-mile (10.4-squarekilometer) area of the Broadacre City model would give home to only 1,400 families, making the population density not quite urban or rural or suburban, but somehow their hybrid, with a social and spatial structure that eludes clear definition.

Published to accompany the most comprehensive presentation of Ed Ruschäs work to date, this catalogue spans 65 years of the artist¿s remarkable career and mirrors his own cross-disciplinary approach.

This latest volume in the MoMA One on One series introduces the original set of 176 emoji for mobile phones and pagers released in 1999 by the Japanese mobile phone company NTT DOCOMO.

This latest volume in the MoMA One on One series is a lively introduction to Ellsworth Kelly¿s Colors for a Large Wall (1951)

This is the first comprehensive study of the history of environmental thinking in architecture at any major institution globally.

Presents artworks by contemporary Latin American artists who, over the last four decades, have looked to history as the source material for new work. Videos, photographs, paintings and sculptures, many of which were donated to the museum by the Colecciâon Patricia Phelps de Cisneros in 2018, are presented in dialogue with one another. Organized into three thematic sections, the catalog examines how artists have investigated and reimagined histories and cultural legacies of the region, including long histories of colonialism, undervalued cultural and visual heritages, and inherited and chosen kinships.

"The photographer Ming Smith has practiced her craft for more than fifty years, producing a body of work distinguished by its uncanny merging of subject and style. Her Invisible Man, Somewhere, Everywhere (1991) was made in the depths of winter. Depicting a lone figure whose form dissolves into the ink-black shadows of a frigid city street at night, the photograph testifies to the artist's lifelong entanglement with the truths and tensions that animate African American experiences. This latest volume in MoMA's One on One series invites readers to discover, through the close reading of one picture, Smith's ethereal yet enduring contributions to the history of photography."-- Page 4 of cover.

Just Above Midtown, or JAM, was an art gallery and self-described laboratory for experimentation led by Linda Goode Bryant that foregrounded African American artists and artists of color. Open from 1974 to 1986, it was a place where an expansive idea of contemporary art flourished and debate was cultivated. The gallery offered early opportunities for artists recognized as pivotal figures in late-20th-century art--including David Hammons, Butch Morris, Senga Nengudi, Lorraine O'Grady and Howardena Pindell--as well as a nonhierarchical approach to art that welcomed artists without stylistic proscription. Published in conjunction with the first museum exhibition to focus on this gallery and its ongoing impact, this book showcases rarely seen material from JAM's history--artworks, ephemera and photographs--that collectively document the gallery's communal and programmatic activities. It includes essays that contextualize JAM and consider its legacy, a conversation between Goode Bryant and Thelma Golden, Director and Chief Curator of the Studio Museum in Harlem, a complete exhibition chronology written by MoMA and Studio Museum staff with nearly 50 annotated entries, and excerpts from oral histories with JAM staff and artists conducted especially for this project.

"The Ivorian artist Frâedâeric Bruly Bouabrâe created an unmistakable and entirely unique body of work, first as a writer and linguist, and then in a dazzling series of colorful drawings on a multitude of subjects, from his native Bâetâe culture to the urban milieu of Abidjan to the all-encompassing themes of fraternity, equality and global understanding. All but unknown even in his home country of Cãote d'Ivoire, Bouabrâe found international recognition in 1989 when he participated in the landmark Paris exhibition Magiciens de la terre, and his work has since been the subject of solo and group exhibitions around the world. Published to accompany the first museum survey of Bouabrâe's work in North America, this catalog offers a vivid account of the artist's long and multifaceted career, including a detailed chronology of his life and reproductions of more than six hundred of his drawings. An essay by curator Ugochukwu-Smooth C. Nzewi introduces Bouabrâe to a new audience, illuminating his significance as both an important African creator and one of the most intriguing artists of the 20th century."--Page 4 of cover.

South Asia holds a unique place among the many regions of the world where modern architecture was understood as both a tool for social progress and a global lingua franca in the second half of the 20th century. Following the end of British rule in 1947-48, architects in the newly formed nations of India, Pakistan, Bangladesh (East Pakistan until 1971) and Ceylon (now Sri Lanka) proposed a novel understanding of modernity, disrupting the colonial hierarchy of center and periphery by challenging modernism's universalist claims. Architecture offered multiple ways to break with the colonial past. Through the establishment of institutions that embodied the societal aspirations of the period, and the creation of new cities and spaces for political representation, South Asian architects produced a body of work in dialogue with global developments while advancing the theory and practice of low-cost, climatically and socially responsive design. Anchored by a newly commissioned portfolio of images from architectural photographer Randhir Singh, this catalog features essays by the curators and scholars in the field on subjects such as the politics of concrete, institution-building, higher education, housing, infrastructure and industry, landscape and design, as well as presentations of 17 projects from around the subcontinent. While several of the architects appearing in these pages have in recent years received monographic exhibitions, The Project of Independence marks the first attempt to consider their work within the ideological frameworks of its creation and the political context of the region as a whole.--Dust jacket.