OUT OF PRINT
MoMA PS1 RELATED PUBLICATIONS
MoMA PS1 presents today’s most experimental, thought-provoking art. Founded in 1971, it is the first nonprofit arts center in the US devoted solely to contemporary art. This selection includes books and a tote bag published by MoMA PS1, alongside exhibition catalogs published to accompany MoMA PS1 shows and more.
The New Television
Video After Television
Book Launch and conversation between
Ed Halter, Joshua Gen Solondz,
Jacolby Satterwhite, and Rebecca Cleman
Followed by Q&A
Sat | Feb 22 | 5:30 PM EST
RSVP
The New Television delves into the rich history of video art, reexamining the pivotal Open Circuits conference held at MoMA in 1974 and exploring its enduring relevance to today’s artistic and critical practices. Open Circuits was an important event in establishing video art in American museums and articulated a range of conflicting teloses for the medium, some which materialized (like local cable television) and others that remain unrealized. The conference proceedings were published in 1977 as The New Television: A Public/Private Art, and the radical design of the book reflected the conference’s utopian aims.
This two-part publication includes a facsimile of the long-out-of-print conference proceedings and new essays and discussions by over a dozen scholars and artists. The new scholarly texts and previously unpublished archival documents in The New Television illuminate the network of institutional histories of video art, consider global televisual contexts and alternative critical approaches, and examine contemporary video art and its continued relevance from new perspectives.
The New Television: Video After Television is made possible through the generous support of the Carl & Marilynn Thoma Foundation.
The New Television: Video After Televisionby Rachel Churner (Editor), Rebecca Cleman (Editor), Tyler Maxin (Editor)
no place press, 2024
Hardcover | 464 pages | 7.13 x 1.41 x 9.88 inches
Ed Halter is a writer and curator living in New York City, and a founder and director of Light Industry, a venue for cinema in all its forms. His publications include From Sun Tzu to Xbox: War and Video Games (2006), Mass Effect: Art and the Internet in the 21st Century (2015, with Lauren Cornell), From the Third Eye: The Evergreen Review Film Reader (2018, with Barney Rosset) and over two decades of writing for 4Columns, Artforum, The Believer, Bookforum, Cinema Scope, The Criterion Collection, frieze, Little Joe, Mousse, The New Yorker, Rhizome, Triple Canopy, the Village Voice, and elsewhere.
Joshua Gen Solondz is an artist working in moving image, sound, and performance. He’s screened in a variety of festivals including Images, Toronto International Film Festival, International Film Festival Rotterdam, Onion City, Black Maria, Portland International, Milwaukee Underground, CAAMFest, San Diego Asian Film Festival, Chicago Underground, Locarno, Mar del Plata, FIC Valdivia, Viennale, and New York Film Festival. They’ve also shown at venues such as REDCAT, Light Industry, UnionDocs, Harvard Film Archive, MoMA, DINCA, NYU, Red Room, ATA, AGX, and Black Hole Cinematheque. In 2024, Solondz received a grant from the New York State Council of the Arts and will be a 2025 MacDowell Fellow.
Jacolby Satterwhite is celebrated for a conceptual practice addressing crucial themes of ritual, fantasy, freedom and world-building through immersive installation, virtual reality and digital media. Satterwhite’s work has been presented in numerous exhibitions and festivals internationally, including most recently at the Contemporary Art Museum, St. Louis (2023); FRONT International: Cleveland Triennial for Contemporary Art, Cleveland, OH (2022); Miller Institute for Contemporary Art, PA (2021); Haus der Kunst, Munich (2021); Gwangju Biennale, Gwangju (2021); Wexner Center for the Arts, Columbus, OH (2021); Fabric Workshop & Museum, Philadelphia (2019); Pioneer Works, New York (2019); Whitechapel Gallery, London (2019); Museum of Modern Art, New York (2019); and Minneapolis Institute of Art (2019). Satterwhite’s immersive 6-channel video commission, A Metta Prayer was recently on view in the Metropolitan Museum of Art’s Great Hall from October 2023 to January 2024.
Rebecca Cleman, executive director of Electronic Arts Intermix (EAI), has programmed and curated numerous exhibitions and screenings exploring video art history, including VHS The Exhibition at Franklin Street Works (2012), Attack of the Packs! Ghostbusters and Early Video Collectives for Metrograph Cinema (2017), and Broadcasting: EAI at ICA with Alex Klein at the ICA Philadelphia (2018). She has published writing on video art and cinema for BOMB, Brooklyn Rail, Screen Slate, the Moving Image Source, and The Film Comment Letter among many other platforms, and with Rachel Churner and Tyler Maxin, is the co-editor of The New Television: Video After Television.
NO MAG
Edited by Ewa WojciakRSVP FOR THE EVENT
NO MAGAZINE founded in 1978, a now historic magazine that actively engaged with and reflected the Los Angeles underground culture, captured and documented the nascent punk music scene of Los Angeles. Each image was photographed uniquely for the magazine, backdrops built from found materials and paint, each a piece of art on its own. These sets were destroyed and reconstructed for the next portraits of bands or local celebrity. The photo shoots were legendary and included performers such as Red Hot Chili Peppers, X, Black Flag, Social Distortion, Dwight Yokum along with artists such as Lydia Lunch, Ron Athey and film director Paul Morrissey. NO MAG was first to recognize and publish the work of Raymond Pettibon, Gary Panter, Fred Tomaselli, all now major world class artists.
The magazines reached cities all over the US as well as International hubs London, Berlin, Tokyo and Melbourne. As the underground scene began to change, the last NO MAG was published in1986.
Though no longer published NO MAG did not disappear, in-fact it grew in popularity over the next twenty years. Ewa Wojciak, present publisher, was contacted by many writers, artists and publishers who where interested in reviving the magazine or featuring it in their publications. The magazine is archived and sold by collectors. Ewa has been a Key note speaker at Zine Festivals and NO MAG is sold alongside Art Books and at Printed Matter in NY where it has also been prominently displayed. As the popularity of small press, DIY publishing and events grew so did Ewa’s desire to expand the NO MAG archive.
After 30+ years NO MAG is back with an ALL NEW publication. It is not a re-issue of past mags. This is NO MAG 2025, a collection of the finest photographers, artists and writers working today. Once again all content has been created specifically for NO MAG. Featuring international contributors…and of course some OGs from Los Angeles this issue presents the same hand designed look and attitude of the original.
Join Ewa Wojciak, Publisher NO MAG
Aaron Rose, Artist, Film Director, Publisher, Curator
Ian Svenonius, Musician, Writer, Publisher
For a conversation celebrating the NEW NO MAG and independent publishing.
Ticking Stripe
By Spencer Gerhardt
RSVP FOR THE EVENT
Noted mathematician and composer Spencer Gerhardt presents Ticking Stripe, a groundbreaking collection of essays linking notions of continuity and construction across the boundaries of math, art, music and philosophy. Gerhardt offers new, deeply informed analysis of the 1960s New York avant-garde, viewed through the lens of trailblazing artists such as La Monte Young, Marian Zazeela, Catherine Christer Hennix, Henry Flynt and Tony Conrad. Ticking Stripe pairs the spirit of L.E.J. Brouwer—a mathematician who sought to reconstruct the continuum in his own philosophical terms called intuitionism—with the ambitions of pioneering minimalists who combined continued constructions, idealized processes of introspection and conceptual world-building with a host of philosophical, scientific and spiritual concerns. Informed by his own work as a mathematician and composer, Gerhardt explores the depths of these disparate traditions, finding unlikely areas of commonality.
Spencer Gerhardt is a composer and mathematician. His music engages constructive, introspective, and romantic traditions. For more than twenty years, Gerhardt has written solo piano music, piano-based songs, and works of minimalism. He studied raga with La Monte Young and Marian Zazeela, piano performance with Sung-Hwa Park, and has collaborated with artists such as Thomas Ankersmit and Charles Curtis. Gerhardt has a record forthcoming on Blank Forms Editions. Gerhardt is an Assistant Teaching Professor of Mathematics at the University of Southern California. His research focuses on algebraic groups, often viewed in connection with problems in finite group theory and representation theory. Prior to his work in algebra, he studied logic and philosophy in the Brouwerian tradition at the University of Amsterdam, where he received a Master of Science. Gerhardt has written about art and music in this context, in particular the philosophical underpinnings of minimalism.
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Philip Ording is an Associate Professor in the Department of Mathematics and Science at the Pratt Institute. In addition to teaching mathematics at Columbia University, the City University of New York, and Sarah Lawrence College, he has worked as a consultant in art and design studios throughout New York since 2003. He is author of the award-winning book 99 Variations on a Proof (Princeton, 2019) and coeditor of Simplicity: Ideals of Practice in Mathematics and the Arts (Springer, 2017). His research and writing appear in the American Journal of Mathematics, Journal of Knot Theory and Its Ramifications, Cabinet, Bulletins of the Serving Library, American Mathematical Society History of Mathematics series, and elsewhere.
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Kate and Laura Mulleavy co-founded the fashion label Rodarte in 2005, subsequently infusing their distinctive visual language and approach to storytelling into areas such as film and opera costume design, writing, and film directing. Their designs reside in the permanent collections of museums nationwide, including the Costume Institute of the Metropolitan Museum of Art, the Los Angeles County Museum of Art, and the Museum at FIT in New York. Institutional exhibitions include the Los Angeles County Museum of Art (2011), and a retrospective at the National Museum of Women in the Arts (2018). In 2017, the Mulleavys wrote and directed their first feature film, Woodshock, starring Kirsten Dunst. It premiered at the Venice Film Festival, and was distributed by a24. They are currently at work on their second film.
Blank Forms Editions
Paperback, 6 x 9.25 in. / 252 pgs / 5 bw.
Francis Bacon: Catalogue Raisonné
Edited by Martin Harrison
Martin Harrison, following his appointment by the Estate of Francis Bacon, has devoted over a decade to the creation of this magnificent publication, the first-ever complete catalogue raisonné of the work of the great British painter. Including many previously unpublished paintings, this five-volume set allows Bacon’s oeuvre to be seen and assessed in its entirety for the first time, with all works reproduced in full color. The only previous Bacon catalogue raisonné was published in 1964, gathering only 37% of Bacon’s ultimate oeuvre, and featuring only 27 color reproductions. Only about half of the 584 paintings that survive are accessible to the public in exhibitions and publications; with Francis Bacon: Catalogue Raisonné, the painter’s entire oeuvre can be seen and assessed for the first time.
The catalogue, containing around 800 illustrations across five clothbound, hardcover volumes, includes three books comprising the study of Bacon’s entire working history, which are bookended by two further volumes: the first including an introduction, chronology and an indispensible index and users’ guide, and the second a catalogue of Bacon’s sketches with an illustrated bibliography. Beautifully produced and printed, the five volumes of Francis Bacon: Catalogue Raisonné are boxed within a handsome cloth slipcase.
The Estate of Francis Bacon
Hardcover | 5 vols | 9.5 x 12.25” | 1,556 pgs
Edited by Martin Harrison
$1,500 plus shipping
Martin Harrison, following his appointment by the Estate of Francis Bacon, has devoted over a decade to the creation of this magnificent publication, the first-ever complete catalogue raisonné of the work of the great British painter. Including many previously unpublished paintings, this five-volume set allows Bacon’s oeuvre to be seen and assessed in its entirety for the first time, with all works reproduced in full color. The only previous Bacon catalogue raisonné was published in 1964, gathering only 37% of Bacon’s ultimate oeuvre, and featuring only 27 color reproductions. Only about half of the 584 paintings that survive are accessible to the public in exhibitions and publications; with Francis Bacon: Catalogue Raisonné, the painter’s entire oeuvre can be seen and assessed for the first time.
The catalogue, containing around 800 illustrations across five clothbound, hardcover volumes, includes three books comprising the study of Bacon’s entire working history, which are bookended by two further volumes: the first including an introduction, chronology and an indispensible index and users’ guide, and the second a catalogue of Bacon’s sketches with an illustrated bibliography. Beautifully produced and printed, the five volumes of Francis Bacon: Catalogue Raisonné are boxed within a handsome cloth slipcase.
The Estate of Francis Bacon
Hardcover | 5 vols | 9.5 x 12.25” | 1,556 pgs
Explicit Snow Globe
An irreverent snow globe to celebrate any time of year.
4 inch glass snow globe with plastic base.
Pure Products USA | 4 x 3 x 6 in.
An irreverent snow globe to celebrate any time of year.
4 inch glass snow globe with plastic base.
Pure Products USA | 4 x 3 x 6 in.
Marcel Duchamp: Boîte-en-valise (or of Marcel Duchamp or Rrose Selavy)
One of the most important and enigmatic pieces of modernist art, "Boîte-en-valise" (Box in a Valise) was assembled by Marcel Duchamp between 19
35 and 1941.
This is the first ever reinterpretation of the legendary book-object, conceptualized by French artist Mathieu Mercier and now available to a broader audience. At once a work in and of itself, and a reproduction in the Duchampian spirit, this miniature museum contains 69 reproductions of Duchamp's most celebrated creations, including the famous "Fountain," Nude Descending a Staircase" and the "Large Glass." Mercier has reproduced the bulk of the contents of Duchamp's original box in paper form, designing everything to scale. Playful and accessible, the "Boîte" reflects Duchamp's desire to display his works outside the museum and gallery system.
Walther König, Köln
Boxed | 14.75 X 14.75 “ | 69 replicas and printed reproductions
One of the most important and enigmatic pieces of modernist art, "Boîte-en-valise" (Box in a Valise) was assembled by Marcel Duchamp between 19
35 and 1941.
This is the first ever reinterpretation of the legendary book-object, conceptualized by French artist Mathieu Mercier and now available to a broader audience. At once a work in and of itself, and a reproduction in the Duchampian spirit, this miniature museum contains 69 reproductions of Duchamp's most celebrated creations, including the famous "Fountain," Nude Descending a Staircase" and the "Large Glass." Mercier has reproduced the bulk of the contents of Duchamp's original box in paper form, designing everything to scale. Playful and accessible, the "Boîte" reflects Duchamp's desire to display his works outside the museum and gallery system.
Walther König, Köln
Boxed | 14.75 X 14.75 “ | 69 replicas and printed reproductions
Tosh Berman from Artbook unboxes Duchamp’s Boîte-en-valise!
Hermès Pop Up
Text by Stéphane Foekinos
Every year, the iconic luxury brand Hermès chooses a new theme to celebrate its creative direction for the upcoming year. This practice began in 1987, marking the brand's 150th anniversary, and has since become a beloved tradition―a way to combine the house's proud, storied heritage with its creative vision for the future.
Hermès' Year Theme for 2018 was "Let's Play," and the brand celebrated in style with this deluxe pop-up book.
Featuring a selection of 14 of the house's iconic square scarf designs, both old and more recent, this book brings the designs alive with exhilarating ingenuity. Delicate paper constructions bring out the depth and volume within the scarf designs; zebras rear up, delicately arching trees grow from the page and painterly strokes detach themselves from the paper surface. This is the Hermès carré as you've never seen it before.
For Hermès,
a brand associated with the highest quality luxury materials and design, "play is movement, freedom, imagination, fantasy, seduction, lightness." Impeccably produced, Hermès Pop Up gives readers the chance to play around in the brand's archives.
Hardcover | 8.5 x 8.5” | 26 pgs
Text by Stéphane Foekinos
Every year, the iconic luxury brand Hermès chooses a new theme to celebrate its creative direction for the upcoming year. This practice began in 1987, marking the brand's 150th anniversary, and has since become a beloved tradition―a way to combine the house's proud, storied heritage with its creative vision for the future.
Hermès' Year Theme for 2018 was "Let's Play," and the brand celebrated in style with this deluxe pop-up book.
Featuring a selection of 14 of the house's iconic square scarf designs, both old and more recent, this book brings the designs alive with exhilarating ingenuity. Delicate paper constructions bring out the depth and volume within the scarf designs; zebras rear up, delicately arching trees grow from the page and painterly strokes detach themselves from the paper surface. This is the Hermès carré as you've never seen it before.
For Hermès,
a brand associated with the highest quality luxury materials and design, "play is movement, freedom, imagination, fantasy, seduction, lightness." Impeccably produced, Hermès Pop Up gives readers the chance to play around in the brand's archives.
Hardcover | 8.5 x 8.5” | 26 pgs
Ed Ruscha
On The Road: An Artist Book of the Classic Novel by Jack Kerouac SIGNED BY ED RUSCHA
$9,000
CONTACT ARTBOOK TO PURCHASE
In 1951, Jack KeOn the Road on his typewriter as a continuous 120-foot-long scroll, feverishly recording in 20 days his road trips across the United States and Mexico. On the Road was finally published in 1957, and Kerouac was immediately acknowledged as the voice of the Beat Generation.
For almost 50 years, Ed Ruscha has recorded the evolving emblems of American life in the form of phrases and sentences, Hollywood logos, gas stations and archetypal landscapes. During the 1960s, he created a series of cheaply printed photographic books which can be seen in part as deadpan meditations on the romantic vision of the road epitomized by the Beats. In Royal Road Test (1967), he brought the word and the road together in a conceptual prank by documenting himself dropping a vintage typewriter from a speeding Buick.
In 2010 Ruscha turned his attention to On the Road, and has produced his own limited-edition version of Kerouac's Beat bible. Ruscha designed the book, illustrating Kerouac's text with 55 tipped-in photographs that the artist has either taken himself, commissioned from other photographers or selected from found images to refer closely to the details and impressions that the author describes, from car parts to jazz instruments, from sandwich stacks to tire burns on a desert road. The text is printed in letterpress on 220g Hahnemühle paper and every one of the 55 photo-plates is blind-embossed and tipped in by hand to create an exquisite and original edition.
Steidl
The leather-bound book comprises 228 pages, signed and numbered by the artist in an edition of 350 and presented in a slipcase.
On The Road: An Artist Book of the Classic Novel by Jack Kerouac SIGNED BY ED RUSCHA
$9,000
CONTACT ARTBOOK TO PURCHASE
In 1951, Jack KeOn the Road on his typewriter as a continuous 120-foot-long scroll, feverishly recording in 20 days his road trips across the United States and Mexico. On the Road was finally published in 1957, and Kerouac was immediately acknowledged as the voice of the Beat Generation.
For almost 50 years, Ed Ruscha has recorded the evolving emblems of American life in the form of phrases and sentences, Hollywood logos, gas stations and archetypal landscapes. During the 1960s, he created a series of cheaply printed photographic books which can be seen in part as deadpan meditations on the romantic vision of the road epitomized by the Beats. In Royal Road Test (1967), he brought the word and the road together in a conceptual prank by documenting himself dropping a vintage typewriter from a speeding Buick.
In 2010 Ruscha turned his attention to On the Road, and has produced his own limited-edition version of Kerouac's Beat bible. Ruscha designed the book, illustrating Kerouac's text with 55 tipped-in photographs that the artist has either taken himself, commissioned from other photographers or selected from found images to refer closely to the details and impressions that the author describes, from car parts to jazz instruments, from sandwich stacks to tire burns on a desert road. The text is printed in letterpress on 220g Hahnemühle paper and every one of the 55 photo-plates is blind-embossed and tipped in by hand to create an exquisite and original edition.
Steidl
The leather-bound book comprises 228 pages, signed and numbered by the artist in an edition of 350 and presented in a slipcase.
The Theater of Refusal: Black Art and Mainstream Criticism
SIGNED copies by Charles Gaines.
Charles Gaines and Huey Copeland had a conversation at Artbook @ MoMA PS1 to discuss the Dancing Foxes Press publication The Theater of Refusal: Black Art and Mainstream Criticism.
In 1993, at the University of California, Irvine, Charles Gaines and Catherine Lord mounted a category-breaking exhibition of Black artists from different generations, working across Fluxus, Conceptualism, assemblage, photography, and new forms of installation. Challenging the racializing of Black artists’ work, the experimental exhibition confronted the discourse around race difference in the United States by including excerpts of writing by art critics, alongside Gaines’s research related to the reception of the exhibition’s artists in a reading room.
On the 30th anniversary of The Theater of Refusal: Black Art and Mainstream Criticism, Dancing Foxes Press publication reprints the eponymous publication that documented the show, which contained essays by Maurice Berger and Gaines and the transcript of a roundtable that included a range of artists and writers. Reproducing images of the exhibition for the first time in color, this new edition augments the original publication with an essay by poet and scholar Fred Moten; recent conversations between Lord and Gaines, and Fred Moten and Gaines; and a roundtable discussion that echoes the first, moderated and edited by curator Jamillah James and Thomas (T.) Jean Lax.
Artists include: Jean-Michel Basquiat, Renée Green, David Hammons, Ben Patterson, Sandra Rowe, Gary Simmons, Lorna Simpson, Carrie Mae Weems, Pat Ward Willams, Fred Wilson
Contributors include: Kemi Adeyemi, Hilton Als, Rhea Anastas, Maurice Berger, Charles Gaines, Malik Gaines, Thelma Golden, Jamillah James, Steffani Jemison, Thomas (T.) Jean Lax, Lizzetta LeFalle-Collins, Catherine Lord, Ben Patterson, Will Rawls, Cameron Rowland, Sandra Rowe, Gary Simmons, Cauleen Smith, Pat Ward Williams
Dancing Foxes Press, 2025
Co-published with the Kunstlerhaus Stuttgart and The Brick, Los Angeles
Edited by Rhea Anastas, Charles Gaines, Jamillah James, and Eric Golo Stone.
Text by Rhea Anastas, Maurice Berger, Charles Gaines, Catherine Lord, Fred Moten, et al.
Design by Scott Ponik, with original edition designed by Susan Silton.
184 pages, 40 images, softcover with jacket, 8 1/2 x 11 inches
Revolution is Love: A Year of Black Trans Liberation.
SIGNED by Qween Jean, Ryan McGinley, Ramie Ahmed, Caroline Mardok, Stas Ginzburg, and Erica Lansner on the occasion of the book launch at Artbook @ MoMA PS1 Bookstore on Saturday, December 10. Conversation with Qween Jean and Ryan McGinley, moderated by Elena Ketelsen González.
Aperture | Paperback / softback
224 pgs / 147 images | 6.75 x 9.25 x 0.81 inches
Revolution Is Love is the powerful and celebratory visual record of a contemporary activist movement in New York City, and a moving testament to the enduring power of photography in activism, advocacy, and community.
Qween Jean is a New York–based activist and costume designer who has designed for over fifty shows. In 2020, Jean founded Black Trans Liberation, an organization aiming to provide access and employment resources for trans and gender-nonconforming communities. In 2021, she was artist-in-residence at MoMA PS1, New York.
Ryan McGinley is a New York–based artist. His early photos displayed the unseen intersection of queer skateboard and graffiti culture. At the age of twenty-five, he became the youngest artist to have a solo show at the Whitney Museum of American Art, New York. For more than a decade, McGinley has road-tripped throughout the US to create work that incorporates the human body within the American landscape. You can always find him on the streets of New York photographing queer activists fighting for LGBTQ+ rights.
Elena Ketelsen González is an assistant curator at MoMA PS1. Previously, she served as curatorial assistant and program manager for the Gracie Mansion exhibition Catalyst: Art and Social Justice, and has formerly held positions in programming at the Whitney Museum of American Art and the Museum of the City of New York. While at MoMA PS1, she has worked to organize activations of Homeroom, a space that amplifies and celebrates the work of collectives, organizations, artists, and activists that are connected to PS1’s program.
Irene V. Small
The Organic Line: Toward a Topology of Modernism
SIGNED by Irene V. Small
Zone books, 2024 | pp. 448
6 x 9 in. | 237 color illus.
What would it mean to treat an interval of space as a line, thus drawing an empty void into a constellation of art and meaning-laden things? In this book, Irene Small elucidates the signal discovery of the Brazilian artist Lygia Clark in 1954: a fissure of space between material elements that Clark called “the organic line.” More than a history of a little-known artistic device, The Organic Line: Toward a Topology of Modernism is a user’s guide and manifesto for reimagining modern and contemporary art for the present.
Irene V. Small is an author, writing on topics ranging from Neoconcretism and radical pedagogy to social sculpture, restitution debates, free speech and the afterlives of slavery. She is also an Associate Professor in the Department of Art & Archaeology at Princeton University.
Thomas Lax is Curator of Media and Performance at the Museum of Modern Art.
Gemma Rolls-Bentley
Queer Art: From Canvas to Club and the Spaces Between
SIGNED by Gemma Rolls-Bentley at our book celebration for 'Queer Art: From Canvas to Club and the Spaces Between' with Rolls-Bentley, the author, and Kari Rittenbach and Daniel Schaeffer.
Frances Lincoln, 2024 | Hardcover, 240 pages | 8 x 9.5 inches
With a heady curation of artworks selected by leading LGBTQIA+ curator Gemma Rolls-Bentley this book mixes the high-brow with the low gallery stalwarts with Instagram stars and the racy with the fabulous. With over 150 works across thematic chapters covering Queer Spaces Queer Bodies and Queer Power this is a unique celebration of queer life – a must-have for the LGBTQIA+ community art lovers and anyone interested in the culture surrounding queer identity.
Lenard Smith
Refuge
SIGNED BY LENARD SMITH @ ARTBOOK @ HAUSER & WIRTH LA BOOKSTORE!
Perimeter Editions | 98 pages, 14.5 x 22cm, OTA-bind softcover with flaps
Perched amid thirty-three acres of redwoods, two miles inland from the remote Mendocino Coast in Northern California, Salmon Creek Farm is a place like few others. Originally established as a countercultural commune in the early 1970s, today it exists as a kind of communal, longterm, living art project – a queered commune, farm, and homestead, open to artists and others curious to its potentials.
On June 4, 2020 – in the week following the murder of George Floyd at the hands of a white police officer – Salmon Creek Farm’s current custodian, the architect and artist Fritz Haeg, posted a callout to social media offering one of the farm’s cabins as a sanctuary for BIPOC artists, with no expectations, expenses or obligations.
The photographs that arose from Los Angeles-based artist Lenard Smith’s time on the land the following month – the same images that populate Refuge, Smith’s second book for Perimeter Editions – sway with a kind of gentle, arcane atmosphere unique to their setting. Lush, dense greenery fills several frames, bracketing quietly monumental renderings of Salmon Creek Farm’s timber cabins and other peripheral structures. Elsewhere, Smith’s affinity for low-key surrealism and the still life play out in arrangements of books, tools, keepsakes, and objects gathered from the land. Gestures toward histories of the African diaspora and Black resilience intersect with spirituality and nature. A self-portrait titled Runaway Slave sees Smith in monochrome, a bindle on his shoulder as he traipses through tangles of undergrowth. Alex Haley’s 1976 novel Roots and Angela Davis’s seminal 1971 treatise If They Come in the Morning each appear in still life, echoing both the pain of the moment and the history that preceded it.
But even with such bearings and signposts, Smith’s images prove open, dialogic, and free – they are unlikely conversationalists. In a prescriptive sense, this book is about neither Salmon Creek Farm nor the socio-cultural context, but it is little without them. Refuge is about an artist being given the space to live freely, to think, and make, and play. It is about safety, and the richness of introspection, solemnity, reflection, and creativity that it affords – a richness that so many of us take for granted.
Both Sides of Sunset Photographing Los Angeles
$300
PLEASE CONTACT ARTBOOK TO PURCHASE
SIGNED BY ED RUSCHA
Los Angeles is a city of dualities—sunshine and noir, coastline beaches and urban grit, natural beauty and suburban sprawl, the obvious and the hidden. Both Sides of Sunset: Photographing Los Angeles reveals these dualities and more, in images captured by master photographers such as Bruce Davidson, Lee Friedlander, Daido Moriyama, Julius Shulman and Garry Winogrand, as well as many younger artists, among them. Taken together, these individual views by more than 130 artists form a collective vision of a place where myth and reality are often indistinguishable.
Metropolis Books
Hardcover | 12.75 x 10.25” | 28 pages
$300
PLEASE CONTACT ARTBOOK TO PURCHASE
SIGNED BY ED RUSCHA
Los Angeles is a city of dualities—sunshine and noir, coastline beaches and urban grit, natural beauty and suburban sprawl, the obvious and the hidden. Both Sides of Sunset: Photographing Los Angeles reveals these dualities and more, in images captured by master photographers such as Bruce Davidson, Lee Friedlander, Daido Moriyama, Julius Shulman and Garry Winogrand, as well as many younger artists, among them. Taken together, these individual views by more than 130 artists form a collective vision of a place where myth and reality are often indistinguishable.
Metropolis Books
Hardcover | 12.75 x 10.25” | 28 pages
Dayanita Singh: Museum Bhavan
Steidl
Hardcover | 10 vols | 3.5 x 5.5” | 298 pgs
Interviews by Aveen Sen, Gerhard Steidl
With Museum Bhavan, Dayanita Singh forges a new space between publishing and the museum, an experience where books have the same--if not greater--artistic value as prints hanging on a gallery wall. Consisting of 10 individual “museums” in book form, Museum Bhavan is a miniature version of Singh’s eponymous traveling exhibition, with prints placed in folding expanding wooden structures.
The images in Museum Bhavan have been intuitively grouped into lyrical chapters in a visual story such as “Little Ladies Museum” and “Ongoing Museum,” as well as more specific series such as “Museum of Machines.” As in Singh’s first project, Sent a Letter (2008), the books are housed in a handmade box and fold out into accordion-like strips which the artist encourages viewers to install and curate as they wish in their own homes. The exhibition thus becomes a book, and the book an exhibition.
With Museum Bhavan, Dayanita Singh forges a new space between publishing and the museum, an experience where books have the same--if not greater--artistic value as prints hanging on a gallery wall. Consisting of 10 individual “museums” in book form, Museum Bhavan is a miniature version of Singh’s eponymous traveling exhibition, with prints placed in folding expanding wooden structures.
The images in Museum Bhavan have been intuitively grouped into lyrical chapters in a visual story such as “Little Ladies Museum” and “Ongoing Museum,” as well as more specific series such as “Museum of Machines.” As in Singh’s first project, Sent a Letter (2008), the books are housed in a handmade box and fold out into accordion-like strips which the artist encourages viewers to install and curate as they wish in their own homes. The exhibition thus becomes a book, and the book an exhibition.
Steidl
Hardcover | 10 vols | 3.5 x 5.5” | 298 pgs
Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness
Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is the long-awaited monograph from one of the most powerful visual activists of our time. The book features over ninety of Muholi’s evocative self-portraits, each image drafted from material props in Muholi’s immediate environment. A powerfully arresting collection of work, Muholi’s radical statements of identity, race, and resistance are a direct response to contemporary and historical racisms. As Muholi states, “I am producing this photographic document to encourage individuals in my community to be brave enough to occupy spaces―brave enough to create without fear of being vilified. . . . To teach people about our history, to rethink what history is all about, to reclaim it for ourselves―to encourage people to use artistic tools such as cameras as weapons to fight back.”
With more than twenty written contributions from curators, poets, and authors, alongside luxurious tritone reproductions of Muholi’s images, Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is as much a manifesto of resistance as it is an autobiographical, artistic statement.
Aperture
Hardcover | 10.5 x 14” | 212 pgs
Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is the long-awaited monograph from one of the most powerful visual activists of our time. The book features over ninety of Muholi’s evocative self-portraits, each image drafted from material props in Muholi’s immediate environment. A powerfully arresting collection of work, Muholi’s radical statements of identity, race, and resistance are a direct response to contemporary and historical racisms. As Muholi states, “I am producing this photographic document to encourage individuals in my community to be brave enough to occupy spaces―brave enough to create without fear of being vilified. . . . To teach people about our history, to rethink what history is all about, to reclaim it for ourselves―to encourage people to use artistic tools such as cameras as weapons to fight back.”
With more than twenty written contributions from curators, poets, and authors, alongside luxurious tritone reproductions of Muholi’s images, Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is as much a manifesto of resistance as it is an autobiographical, artistic statement.
Aperture
Hardcover | 10.5 x 14” | 212 pgs
Daido Moriyama: Tales of Tono
Text by Daido Moriyama. Translation by Lena Fritsch. Afterword by Simon Baker.
Throughout his career, Daido Moriyama has produced a huge body of extremely influential photobooks, each demonstrating the variety and complexity of his work, from the blurred and grainy style of his early Provoke-era publications, to his more classic city- and object-based projects. Tales of Tono, appearing here for the first time in English, is one such book. First published in 1976, and taking its name from a collection of Japanese rural folk legends, Tales of Tono is a compact little volume composed of black-and-white photo diptychs and spreads that were shot in the countryside of northern Honshu, Japan. Faithfully reproducing the original edition, this book contains a text by the artist that offers the reader a typically honest and self-effacing account of Moriyama’s thoughts about his practice. More than 30 years since its original Japanese publication, Tales of Tono gives a fantastic insight into one of the world’s most original and provocative photographers. It is published to coincide with a survey of the artist’s work at Tate Modern, London.
D.A.P. | Tate
Paperback | 4.5 x 6.75” | 192 pgs
Text by Daido Moriyama. Translation by Lena Fritsch. Afterword by Simon Baker.
Throughout his career, Daido Moriyama has produced a huge body of extremely influential photobooks, each demonstrating the variety and complexity of his work, from the blurred and grainy style of his early Provoke-era publications, to his more classic city- and object-based projects. Tales of Tono, appearing here for the first time in English, is one such book. First published in 1976, and taking its name from a collection of Japanese rural folk legends, Tales of Tono is a compact little volume composed of black-and-white photo diptychs and spreads that were shot in the countryside of northern Honshu, Japan. Faithfully reproducing the original edition, this book contains a text by the artist that offers the reader a typically honest and self-effacing account of Moriyama’s thoughts about his practice. More than 30 years since its original Japanese publication, Tales of Tono gives a fantastic insight into one of the world’s most original and provocative photographers. It is published to coincide with a survey of the artist’s work at Tate Modern, London.
D.A.P. | Tate
Paperback | 4.5 x 6.75” | 192 pgs
Francesca Woodman (DAP)
Artists who arrive fully formed at a young age always dazzle, and Francesca Woodman was one of the most gifted and dazzling artist prodigies in recent history. In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph.
Hardcover | 9.25 x 10.75” 224 pgs
Artists who arrive fully formed at a young age always dazzle, and Francesca Woodman was one of the most gifted and dazzling artist prodigies in recent history. In 1972, the 13-year-old Woodman made a black-and-white photograph of herself sitting at the far end of a sofa in her home in Boulder, Colorado. Her face is obscured by her hair, light radiates from an unseen source behind her out at the viewer through her right hand. This photograph typifies much of what would characterize Woodman's work to come: a semi-obscured female form merging with or flailing against a somewhat bare and often dilapidated interior. In an oeuvre of around 800 photographs made in just nine years, Woodman performed her own body against the textures of wallpaper, door frame, baths and couches, radically extending the Surrealist photography of Man Ray, Hans Bellmer and Claude Cahun and creating a mood and language all her own. In the 30 years since her untimely death, Woodman has gained a following among successive generations of artists and photographers, a testament to her work's undeniable immediacy and enduring appeal Amid a renewed intensification of interest in Francesca Woodman, this volume is published for a major touring exhibition of her photographs and films at the San Francisco Museum of Modern Art and the Guggenheim. Containing many previously unpublished photographs, it is the definitive Francesca Woodman monograph.
Hardcover | 9.25 x 10.75” 224 pgs
Sohrab Hura: The Levee
SIGNED by Sohrab Hura
UNSIGNED
Ugly Dog, 2020 | English | 6.5x8.5 inches | Edition of 600 copies published in conjunction with Hura's exhibition at the Cincinnati Art Museum.
Sohrab Hura on The Levee: Be careful, my father had written to me, It’s supposed to be unsafe out there, words interspersed with photographs from the cargo ship that he was working on as he made his way up the Mississippi river to the port right outside New Orleans. The immigration rules did not allow him to step on American soil and he had no choice but to remain on his ship. His short-lived glimpse of the country had remained only within those raised embankments on either side of the river. The America that lay on the other side was something he could only make sense of through a trickle of news and opinions that he had been heard from a distance. Guns, Violence, Racism, Trump, A certain loss of Tenderness…
A couple of months later in 2016 I made the journey on road down the delta from the confluence of Ohio and Mississippi rivers outside Cairo (Illinois), to Pilot Town, off Highway 23 that went further down from New Orleans. It was near here that the river opened into the sea and was the entry point into this part of the country for all ships including my father’s.
As it had been for sailors searching for land, birds now became my guides as I looked for the beginnings of water, leading me through the blues of the wetness of the land. The America I found on the way was not quite the same as the one that my father had imagined. Just as it had been with my father, there was always a levee between the river and me as well. My father had been on water but had not been able to touch land. I was on land but had barely been able to touch water. Together we got a glimpse of the delta from our own sides of the levee.
Ralph Lemon: Ceremonies Out of the Air
Published on the occasion of the first US museum exhibition of work by Philadelphia and Brooklyn–based artist, dancer and choreographer Ralph Lemon (November 14, 2024–March 24, 2025), the publication includes more than 60 works across media, including major ensemble performances, emerging in the afterlife of postmodern dance.
Texts by exhibition curators Connie Butler and Thomas Lax are accompanied by essays and contributions by Kevin Beasley, Adrienne Edwards, Darrell Jones, Ralph Lemon, Okwui Okpokwasili, Kevin Quashie and Kari Rittenbach.
MoMA PS1, 2024
Paperback featuring a dust jacket that unfolds into a poster | 6.75 x 9.5 in. | 168 pgs | 80 color
Ralph Lemon:
Modern Dance
Edited with text by Thomas J. Lax. Text by Doryun Chong, Adrienne Edwards, Saidiya Hartman, Deborah Jowitt, Ralph Lemon, André Lepecki, Fred Moten, Okwui Okpokwasili, Katherine Profeta, Will Rawls.
MoMA, 2016 | Paperback, 6.5 x 9.75 in. | 144 pgs | 60 color.$29.95
Ralph Lemon (born 1952) is one of the most significant figures to emerge from New York’s downtown dance and performance world in the past 40 years. A polymath and shape-shifter, Lemon combines dance and theater with drawing, film, writing and ethnography in works presented on the stage, in publications and in museums. He builds his politically resonant and deeply personal projects in collaboration with dance makers and artists from New York, West Africa, South and East Asia, and the American South.
Lemon, who was born in Cincinnati and raised in Minneapolis, describes his explorations as a “search for the forms of formlessness.” Absorbing and transmuting fractured mythologies, social history and dance techniques from multiple geographies and decades, Lemon’s genre-transcending works perform an alchemy of past and present, reality and fantasy. This book, the first monograph on the artist, features a wide range of texts by scholars and performers, an original photo essay by Lemon and an extensive chronology.
MoMA's Modern Dance is a series of monographs exploring dance makers in the 21st century. Each volume focuses on a single choreographer, presenting a rich collection of newly commissioned texts along with a definitive catalogue of the artist’s projects.
Sohrab Hura:
Things Felt But Not Quite Expressed
SIGNED by Sohrab Hura
UNSIGNED
In conjunction with Sohrab Hura: Mother, MoMA PS1's first US survey of the artist, Artbook @ MoMA PS1 is carryingThings Felt But Not Quite Expressed, a monograph collection of Hura's pastel illustrations made between 2022 and 2024 of everyday scenes of love, joy, family, and relationships.
Renowned for his self-published photographic books, here Hura departs from the fixedness of the photographic form, using technicolour soft pastel to imbue his portraits, still lifes, and quotidian scenes with fluidity and to charge them with feeling. These works originated in a period in which the artist felt unable to connect with the permanency of photographs. Pivoting to drawing enabled him to capture the whimsy and ephemerality of everyday life.
Sohrab Hura is a photographer and filmmaker who lives and works in New Delhi, India. The MoMA PS1 exhibition Mother showcases more than fifty works from the last two decades of his experimental practice, weaving together bodies of work across photography, film, sound, drawing, painting, and text that have never before been shown together.
MACK books, 2024
Hardcover with padded cover
7 x 12 inches
160 pages
Pacita Abad
Edited with text by Victoria Sung. Text by Pio Abad, Julia Bryan-Wilson, Ruba Katrib, Nancy Lim, Matthew Villar Miranda, Xiaoyu Weng.
A comprehensive survey of Abad's visually dazzling and politically prescient works blending fabric and painting.
Walker Art Center, 2023
Clth | 9 x 11.75 inches | 352 pages | 344 color | 80 bw.
Sophie Calle: Suite Venitienne
Calle’s first artist’s book documents her pursuit of one man through the streets of Venice
After following strangers on the streets in Paris for months, photographing them and notating their movements, Sophie Calle ran into a man at an opening whom she had followed earlier that day. "During the course of our conversation, he told me he was planning an imminent trip to Venice. I decided to follow him," she writes at the beginning of Suite Vénitienne, her first artist's book and the crucible of her inimitable fusion of investigatory methods, fictional constructs, the plundering of real life and the composition of self. Over the course of almost two weeks in Venice, Calle notates, in time-stamped entries, her surveillance of Henri B., as well as her own emotions as she seeks, finds and follows him through the labyrinthine streets of Venice.
Her investigation is both methodical (calling every hotel, visiting the police station) and arbitrary (sometimes following a stranger—a flower delivery boy, for instance—hoping someone might lead her to him). This Siglio reissue is a completely new iteration of Suite Vénitienne (first published in 1988 and long out of print), designed in collaboration with Calle to be the definitive English-language edition. Printed on Japanese paper with a die-cut cover and gilded edges, this beautiful new Siglio edition allows readers to devour this crucial and compelling work.
Siglio, 2015 | Hardcover | 96 pages | 5.5 x 8 in | 4 color | 56 bw. |
| 9781938221095 |
Sophie Calle Because
A stunning artist’s book containing loose photographs hidden between pages of text that tell the story of each image
Words have always been central to the practice of French artist Sophie Calle (born 1953), who is known for her photographic work that often includes panels of text of her own writing. In this project, Calle conceives of the internal thought processes behind her art-making as stories to be told. It is with these stories—alongside the external stories of the moments preceding a click of a camera shutter—that Calle opens Because. The volume chronicles her reasons behind capturing particular moments in time, but the corresponding photos themselves are revealed only later, hidden in the interstices of the Japanese binding. In this process, Calle reverses the relationship of natural primacy between an image and the words that accompany it, instead calling our attention to the influence that the latter may have on our perception of a photograph.
The new revised edition of this classic artist’s book contains 39 loose photographs inserted between the pages, alongside text and other imagery by Calle. A beautiful object in its own right, it features Japanese binding and an iridescent orange cloth cover.
Atelier Exb, 2024 | Hardcover | 6.75 x 9.5 in. | 168 pgs | 39 color.
| 9782365114097
Sophie Calle:
The Hotel
In 1981 Sophie Calle took a job as a chambermaid for the Hotel C in Venice, Italy. Stashing her camera and tape recorder in her mop bucket, she not only cleans and tidies, but sorts through the evidence of the hotel guests' lives. Assigned 12 rooms on the fourth floor, she surveys the state of the guests' bedding, their books, newspapers and postcards, perfumes and cologne, traveling clothes and costumes for Carnival. She methodically photographs the contents of closets and suitcases, examining the detritus in the rubbish bin and the toiletries arranged on the washbasin. She discovers their birth dates and blood types, diary entries, letters from and photographs of lovers and family. She eavesdrops on arguments and love-making. She retrieves a pair of shoes from the wastebasket and takes two chocolates from a neglected box of sweets, while leaving behind stashes of money, pills and jewelry. Her thievery is the eye of the camera, observing the details that were not meant for her, or us, to see.
The Hotel now manifests as a book for the first time in English (it was previously included in the book Double Game). Collaborating with the artist on a new design that features enhanced and larger photographs, and pays specific attention to the beauty of the book as an object, Siglio is releasing its third book authored by Calle, after The Address Book (2012) and Suite Vénitienne (2015).
Siglio, 2021 | Clth | 6 x 8 in. | 224 pgs | 12 color | 180 bw.
Sophie Calle:
The Sleepers
Calle’s seminal 1979 series of people sleeping in her bed: now in English
In one of Sophie Calle’s first artistic experiments, she invited friends, acquaintances and strangers to sleep in her bed. Twenty-seven people agreed, among them a baker, a babysitter, an actor, a journalist, a seamstress, a trumpet player and three painters. Calle photographed them awake and asleep, secretly recording any private conversations once the door closed. She served each a meal, and, if they agreed, she subjected them to a questionnaire that probed their personal predilections, habits and dreams as well as their interpretations of the act of sleeping in her bed: a curiosity, a game, an artwork, or—as Calle intended it—a job. The result, comprising her first exhibition in 1979, was a grid of 198 photographs and short texts.
Unlike the original installation, this artist’s book version of The Sleepers contains not only all the photographs and captions but also her engrossing, novellalike narrative, untranslated until now. From the single, liminal mise-en-scène of her bedroom, Calle reports in text and photos, as if in real time, as sleepers arrive, talk, sleep, eat and leave. Their acute and sometimes startling, sometimes endearing particularities merge into something almost like an eight-day-long dream. Many seeds of Calle’s subsequent works are embedded in The Sleepers: her exacting and transgressive methods of investigation, her cultivation of intimacy and remove, and her unrelenting curiosity. In this work, as she observes the sleepers, they observe her too—with reciprocal candor. The Sleepers, clothbound and pillow-like, unfolds as it opens, inviting the reader to join the others in Calle’s bed.
Siglio, 2024 | Clth, 6 x 8 in. | 304 pgs | 176 bw. | 9781938221347
$48.00
Tim Davis:
I’m Looking Through You
Photographs by Tim Davis.
Text by Tim Davis.
SIGNED BY TIM DAVIS IN-STORE AT ARTBOOK @ HAUSER & WIRTH LA!
I’m Looking Through You is an expansive visual poem celebrating the glamorous surface of Los Angeles and its reach.
Animating Tim Davis's wry observations and the mesmerizing, color-pop geometry of his images is the photographer and writer’s decades long, gimlet-eyed meditation on making pictures. As Davis states, “The camera is a machine that sees only surfaces. The world casts its spell, and the camera gobbles up its glamour, uncritically, with pure certainty, assuming there is nothing underneath.” Davis’s keenly observational images, interspersed with a selection of his writings on the medium—the joys and pitfalls of camera seeing—solidify I’m Looking Through You as an unabashed celebration of photography.
Aperture
Hardcover | 6.5 x 9”|
256 pgs
I’m Looking Through You
Photographs by Tim Davis.
Text by Tim Davis.
SIGNED BY TIM DAVIS IN-STORE AT ARTBOOK @ HAUSER & WIRTH LA!
I’m Looking Through You is an expansive visual poem celebrating the glamorous surface of Los Angeles and its reach.
Animating Tim Davis's wry observations and the mesmerizing, color-pop geometry of his images is the photographer and writer’s decades long, gimlet-eyed meditation on making pictures. As Davis states, “The camera is a machine that sees only surfaces. The world casts its spell, and the camera gobbles up its glamour, uncritically, with pure certainty, assuming there is nothing underneath.” Davis’s keenly observational images, interspersed with a selection of his writings on the medium—the joys and pitfalls of camera seeing—solidify I’m Looking Through You as an unabashed celebration of photography.
Aperture
Hardcover | 6.5 x 9”|
256 pgs
Taryn Simon. The Color of a Flea’s Eye
Taryn Simon’s The Color of a Flea’s Eye presents a history of the New York Public Library’s Picture Collection—a legendary trove of more than one million prints, photographs, postcards, posters and images from disused books and periodicals. Since its inception in 1915, the Picture Collection has been a vital resource for writers, historians, artists, filmmakers, fashion designers and advertising agencies.
In her work The Picture Collection (2012-20), Simon (born 1975) highlighted the impulse to organize visual information, and pointed to the invisible hands behind seemingly neutral systems of image gathering. Each of Simon’s photographs is made up of an array of images selected from a given subject folder, such as Chiaroscuro, Handshaking, Haircombing, Express Highways, Financial Panics, Israel, and Beards and Mustaches. In artfully overlapped compositions, only slices of the individual images are visible, each fragment suggesting its whole. Simon sees this extensive archive of images as the precursor to internet search engines. Such an unlikely futurity in the past is at the core of the Picture Collection. The digital is foreshadowed in the analogue, at the same time that history—its classifications, its contents—seems the stuff of projection.expansive conversation with the filmmaker Arthur Jafa.
Produced in direct collaboration with the artist, the book contains 57 individually hand tipped-in plates, numerous gatefolds and a variety of unique papers, as well as essays by Joshua Chuang, head of The New York Public Library’s Wallach Division of Art, Prints and Photographs, and Tim Griffin, executive director and chief curator at The Kitchen.
Cahiers D’Art, 2020 | Hardcover, 10 x 13.25 in. / 460 pgs / 57 color / 442 bw.
Taryn Simon’s The Color of a Flea’s Eye presents a history of the New York Public Library’s Picture Collection—a legendary trove of more than one million prints, photographs, postcards, posters and images from disused books and periodicals. Since its inception in 1915, the Picture Collection has been a vital resource for writers, historians, artists, filmmakers, fashion designers and advertising agencies.
In her work The Picture Collection (2012-20), Simon (born 1975) highlighted the impulse to organize visual information, and pointed to the invisible hands behind seemingly neutral systems of image gathering. Each of Simon’s photographs is made up of an array of images selected from a given subject folder, such as Chiaroscuro, Handshaking, Haircombing, Express Highways, Financial Panics, Israel, and Beards and Mustaches. In artfully overlapped compositions, only slices of the individual images are visible, each fragment suggesting its whole. Simon sees this extensive archive of images as the precursor to internet search engines. Such an unlikely futurity in the past is at the core of the Picture Collection. The digital is foreshadowed in the analogue, at the same time that history—its classifications, its contents—seems the stuff of projection.expansive conversation with the filmmaker Arthur Jafa.
Produced in direct collaboration with the artist, the book contains 57 individually hand tipped-in plates, numerous gatefolds and a variety of unique papers, as well as essays by Joshua Chuang, head of The New York Public Library’s Wallach Division of Art, Prints and Photographs, and Tim Griffin, executive director and chief curator at The Kitchen.
Cahiers D’Art, 2020 | Hardcover, 10 x 13.25 in. / 460 pgs / 57 color / 442 bw.
Taryn Simon. A Living Man Declared Dead and Other Chapters
SIGNED BY TARYN SIMON
A significant and extensive book on a major new body of work by the American artist Taryn Simon. Taryn Simon: A Living Man Declared Dead and Other Chapters, I-XVIII was produced over a four-year period (2008-2011), during which Simon travelled the world researching and recording bloodlines and their related stories. In each of the eighteen "chapters" that make up the work, the external forces of territory, power, circumstance, or religion collide with the internal forces of psychological and physical inheritance. Her subjects feuding families in Brazil, victims of genocide in Bosnia, the first woman to hijack an aircraft, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. This volume accompanies the exhibitions at Tate Modern, London (May 2011), Neue Nationalgalerie, Berlin (September 2011), and the Museum of Modern Art, New York (May-September 2012).
MACK, 2011 | Hardcover
SIGNED BY TARYN SIMON
A significant and extensive book on a major new body of work by the American artist Taryn Simon. Taryn Simon: A Living Man Declared Dead and Other Chapters, I-XVIII was produced over a four-year period (2008-2011), during which Simon travelled the world researching and recording bloodlines and their related stories. In each of the eighteen "chapters" that make up the work, the external forces of territory, power, circumstance, or religion collide with the internal forces of psychological and physical inheritance. Her subjects feuding families in Brazil, victims of genocide in Bosnia, the first woman to hijack an aircraft, and the living dead in India. Her collection is at once cohesive and arbitrary, mapping the relationships among chance, blood, and other components of fate. This volume accompanies the exhibitions at Tate Modern, London (May 2011), Neue Nationalgalerie, Berlin (September 2011), and the Museum of Modern Art, New York (May-September 2012).
MACK, 2011 | Hardcover
Taryn Simon: Field Guide to Birds of the West Indies
In 1936 an American ornithologist named James Bond published the definitive taxonomy Birds of the West Indies. Ian Fleming, an active bird-watcher living in Jamaica, appropriated the name for his novel’s lead character. He found it "flat and colourless," a fitting choice for a character intended to be "anonymous ... a blunt instrument in the hands of the government." In Field Guide to Birds of the West Indies, Taryn Simon casts herself as James Bond (1900–89) the ornithologist, and identifies, photographs and classifies all the birds that appear within the 24 films of the James Bond franchise. The appearance of many of the birds was unplanned and virtually undetected, operating as background noise for whatever set they happened to fly into. Simon’s ornithological discoveries occupy a liminal space—confined within the fiction of the James Bond universe and yet wholly separate from it. This taxonomy of 331 birds is a precise consideration of a new nature found in an alternate reality.
Hatje Cantz, 2016 | Hardcover, 7.5 x 11.5 in. / 608 pgs / 367 color.
In 1936 an American ornithologist named James Bond published the definitive taxonomy Birds of the West Indies. Ian Fleming, an active bird-watcher living in Jamaica, appropriated the name for his novel’s lead character. He found it "flat and colourless," a fitting choice for a character intended to be "anonymous ... a blunt instrument in the hands of the government." In Field Guide to Birds of the West Indies, Taryn Simon casts herself as James Bond (1900–89) the ornithologist, and identifies, photographs and classifies all the birds that appear within the 24 films of the James Bond franchise. The appearance of many of the birds was unplanned and virtually undetected, operating as background noise for whatever set they happened to fly into. Simon’s ornithological discoveries occupy a liminal space—confined within the fiction of the James Bond universe and yet wholly separate from it. This taxonomy of 331 birds is a precise consideration of a new nature found in an alternate reality.
Hatje Cantz, 2016 | Hardcover, 7.5 x 11.5 in. / 608 pgs / 367 color.
Taryn Simon. Contraband
This publication reissues a much sought-after photobook. Taryn Simon is an American artist whose works combine photography, text and graphic design. Her practice involves extensive research, in projects guided by an interest in systems of categorization and classification. For Contraband, 1,075 photographs were taken at both the US Customs and Border Protection Federal Inspection Site and the US Postal Service International Mail Facility at John F. Kennedy International Airport, New York. From November 16 to November 20, 2009, Simon remained on site and continuously photographed items detained or seized from passengers and express mail entering the United States from abroad. The list of items includes pork, syringes, Botox, GBL date rape drug, heroin, imitation Lipitor, Ketamine tranquillizers, Lidocaine, Lorazepam, locust tree seed, ginger root, deer tongues, cow urine, Cohiba cigars and Egyptian cigarettes. The volume is published in three differently colored covers.
Hatje Cantz, 2015 | Paperback, 7 x 9.5 in. / 480 pgs / 1,075 color
This publication reissues a much sought-after photobook. Taryn Simon is an American artist whose works combine photography, text and graphic design. Her practice involves extensive research, in projects guided by an interest in systems of categorization and classification. For Contraband, 1,075 photographs were taken at both the US Customs and Border Protection Federal Inspection Site and the US Postal Service International Mail Facility at John F. Kennedy International Airport, New York. From November 16 to November 20, 2009, Simon remained on site and continuously photographed items detained or seized from passengers and express mail entering the United States from abroad. The list of items includes pork, syringes, Botox, GBL date rape drug, heroin, imitation Lipitor, Ketamine tranquillizers, Lidocaine, Lorazepam, locust tree seed, ginger root, deer tongues, cow urine, Cohiba cigars and Egyptian cigarettes. The volume is published in three differently colored covers.
Hatje Cantz, 2015 | Paperback, 7 x 9.5 in. / 480 pgs / 1,075 color
Nan Goldin. The Other Side
This is an expanded and updated version of Nan Goldin’s seminal book The Other Side, originally published in 1993, featuring a revised introduction by Goldin, and, for the first time, the voices of those whose stories are represented. Published at a time when discourse around gender and sexual orientation is evolving rapidly, The Other Side traces some of the history that informs this new visibility.
The first photographs in the book are from the 1970s, when Goldin lived in Boston with a group of drag queens and documented their glamour and vulnerability. In the early 1980s, Goldin chronicled the lives of transgender friends in New York when AIDS began to decimate her community. In the ’90s, she recorded the explosion of drag as a social phenomenon in New York, Berlin, Bangkok and the Philippines. Goldin’s newest photographs are intimate portraits, imbued with tenderness, of some of her most beloved friends. The Other Side is her homage to the queens she has loved, many of whom she has lost, over the last four decades.
Steidl | 2019 | Hardcover | 9 x 10.75 in | 140 pgs
This is an expanded and updated version of Nan Goldin’s seminal book The Other Side, originally published in 1993, featuring a revised introduction by Goldin, and, for the first time, the voices of those whose stories are represented. Published at a time when discourse around gender and sexual orientation is evolving rapidly, The Other Side traces some of the history that informs this new visibility.
The first photographs in the book are from the 1970s, when Goldin lived in Boston with a group of drag queens and documented their glamour and vulnerability. In the early 1980s, Goldin chronicled the lives of transgender friends in New York when AIDS began to decimate her community. In the ’90s, she recorded the explosion of drag as a social phenomenon in New York, Berlin, Bangkok and the Philippines. Goldin’s newest photographs are intimate portraits, imbued with tenderness, of some of her most beloved friends. The Other Side is her homage to the queens she has loved, many of whom she has lost, over the last four decades.
Steidl | 2019 | Hardcover | 9 x 10.75 in | 140 pgs
Nan Goldin. The Beautiful Smile
2007 winner Nan Goldin is easily one of the most significant photographers of our time. Adopting the direct aesthetics of snapshot photography, she has documented her own life and that of her friends and others on the margins of society for more than 30 years, offering frank depictions of drug abuse, cross-dressing and alternative sexualities. Her intimate photographs depict urban lives in New York and Europe in the 1970s, ‘80s and ‘90s, a period massively determined by HIV and AIDS. Her practice of photography as memoir, as a means of protection against loss and as an act of preservation, as well as her use of the slide show, resonates in the work of photographers of recent generations.
This classic volume, which the photographer has called her favorite of all of her books, is a moving homage to the work of one of the most eminent artists of our time.
Steidl | 2017 | Hardcover | 9.75 x 10.5 in | 150 pgs
2007 winner Nan Goldin is easily one of the most significant photographers of our time. Adopting the direct aesthetics of snapshot photography, she has documented her own life and that of her friends and others on the margins of society for more than 30 years, offering frank depictions of drug abuse, cross-dressing and alternative sexualities. Her intimate photographs depict urban lives in New York and Europe in the 1970s, ‘80s and ‘90s, a period massively determined by HIV and AIDS. Her practice of photography as memoir, as a means of protection against loss and as an act of preservation, as well as her use of the slide show, resonates in the work of photographers of recent generations.
This classic volume, which the photographer has called her favorite of all of her books, is a moving homage to the work of one of the most eminent artists of our time.
Steidl | 2017 | Hardcover | 9.75 x 10.5 in | 150 pgs
Nan Goldin. Diving for Pearls
In this work, Nan Goldin merges her deep admiration for the artworks of the past with a lifelong dedication to her most immediate circle of friends. Invited by the Louvre, she photographed artworks of her choice at the museum and, guided by aesthetic and associative considerations, connected them to earlier photographs of her friends and lovers. In this way she not only draws inspiration from the rich sources of art history but revisits her own oeuvre of the last 40 years. The striking similarities between the two different pictorial worlds exert an intense dynamic on the viewer. The series, which yielded over 400 photographs, was shown for the first time in its full scope at the Kestnergesellschaft in Hannover, Germany. For this occasion, Diving for Pearls was conceived as an independent artist book which, alongside Goldin’s newest work "Saints," contains a selection of photographs that have never been published before.
Steidl | 2016 | Hardcover | 9.25 x 9 in | 208 pgs
In this work, Nan Goldin merges her deep admiration for the artworks of the past with a lifelong dedication to her most immediate circle of friends. Invited by the Louvre, she photographed artworks of her choice at the museum and, guided by aesthetic and associative considerations, connected them to earlier photographs of her friends and lovers. In this way she not only draws inspiration from the rich sources of art history but revisits her own oeuvre of the last 40 years. The striking similarities between the two different pictorial worlds exert an intense dynamic on the viewer. The series, which yielded over 400 photographs, was shown for the first time in its full scope at the Kestnergesellschaft in Hannover, Germany. For this occasion, Diving for Pearls was conceived as an independent artist book which, alongside Goldin’s newest work "Saints," contains a selection of photographs that have never been published before.
Steidl | 2016 | Hardcover | 9.25 x 9 in | 208 pgs
Nan Goldin. A Double Life
-Nan Goldin
“I used to think Nan and I were complete opposites and it was all about the complement. But it’s different from that. At the same time we’re identical- like our pictures. At first they seem to come from different plants but finally they arrive at the same place.”
-David Armstrong
DAP | 1994 | Hardcover | 9.75 x 13 in | 184 pgs
-Nan Goldin
“I used to think Nan and I were complete opposites and it was all about the complement. But it’s different from that. At the same time we’re identical- like our pictures. At first they seem to come from different plants but finally they arrive at the same place.”
-David Armstrong
DAP | 1994 | Hardcover | 9.75 x 13 in | 184 pgs
Nan Goldin. I’ll Be Your Mirror
-Nan Goldin
“I used to think Nan and I were complete opposites and it was all about the complement. But it’s different from that. At the same time we’re identical- like our pictures. At first they seem to come from different plants but finally they arrive at the same place.”
-David Armstrong
Scalo Verlag | 1996 | Hardcover | 8.5 x 11.5 in | 491 pgs
-Nan Goldin
“I used to think Nan and I were complete opposites and it was all about the complement. But it’s different from that. At the same time we’re identical- like our pictures. At first they seem to come from different plants but finally they arrive at the same place.”
-David Armstrong
Scalo Verlag | 1996 | Hardcover | 8.5 x 11.5 in | 491 pgs
Niki de Saint Phalle, Nicole Rudick. What Is Now Known Was Once Only Imagined: An (Auto)biography of Niki de Saint Phalle
A biography by Nicole Rudick told in Saint Phalle’s own words, assembled from rare and unseen materials.
Known best for her exuberant, often large-scale sculptural works that celebrate the abundance and complexity of female desire, imagination and creativity, Niki de Saint Phalle viewed making art as a ritual, a performance—a process connecting life to art. This unconventional, illuminated biography, told in the first person in Saint Phalle's voice and her own hand, dilates large and small moments in Saint Phalle's life which she sometimes reveals with great candor, at other times carefully unwinding her secrets. Editor Nicole Rudick, in a kind of collaboration with the artist, has assembled a gorgeous and detailed mosaic of Saint Phalle's visual and textual works from a trove of paintings, drawings, sketches and writings, many previously unpublished or long unavailable, that trace her mistakes and successes, her passions and her radical sense of joy. Saint Phalle's invocation—her "bringing to life"—writes Rudick, "is an apt summation of the overlap of Saint Phalle’s life and art: both a bringing into existence and a bringing to bear. These are visions from the frontiers of consciousness."
Siglio Press
Hardcover | 7.25” x 10” | 268 pgs
A biography by Nicole Rudick told in Saint Phalle’s own words, assembled from rare and unseen materials.
Known best for her exuberant, often large-scale sculptural works that celebrate the abundance and complexity of female desire, imagination and creativity, Niki de Saint Phalle viewed making art as a ritual, a performance—a process connecting life to art. This unconventional, illuminated biography, told in the first person in Saint Phalle's voice and her own hand, dilates large and small moments in Saint Phalle's life which she sometimes reveals with great candor, at other times carefully unwinding her secrets. Editor Nicole Rudick, in a kind of collaboration with the artist, has assembled a gorgeous and detailed mosaic of Saint Phalle's visual and textual works from a trove of paintings, drawings, sketches and writings, many previously unpublished or long unavailable, that trace her mistakes and successes, her passions and her radical sense of joy. Saint Phalle's invocation—her "bringing to life"—writes Rudick, "is an apt summation of the overlap of Saint Phalle’s life and art: both a bringing into existence and a bringing to bear. These are visions from the frontiers of consciousness."
Siglio Press
Hardcover | 7.25” x 10” | 268 pgs
Niki de Saint Phalle. Tarot Garden Activity Book.
This children's activity book on The Tarot Garden includes stickers, connect the dot games and many pages for coloring.
The ideal book of memories after your visit or a fun way to discover the garden, if you haven’t had a chance to visit it yet.
Il Girdino Dei Tarocchi
Paperback | 10 x 13”| 14 pgs
This children's activity book on The Tarot Garden includes stickers, connect the dot games and many pages for coloring.
The ideal book of memories after your visit or a fun way to discover the garden, if you haven’t had a chance to visit it yet.
Il Girdino Dei Tarocchi
Paperback | 10 x 13”| 14 pgs
| Niki de Saint Phalle: Memory Game |
Stimulate your memory with this matching game featuring 24 images by Niki de Saint Phalle!
Il Giardino dei Tarocchi
48 cards (24 images)
| Niki de Saint Phalle: Inflatable Yellow Nana |
Niki de Saint Phalle began commercializing her Nana balloons in 1968, as part of an effort towards democratizing art, by offering her inflatable sculptures at more affordable prices. To this day, they are beloved by children and adults alike.
Il Giardino dei Tarocchi
Vinyl Plastic, 90 x 82 cm
Heidi Howard:
Colors Make Us Do Vibrant Things
Author(s): Brenda Coultas; Gaby Collins-Fernandez; Amy Giovanna Rinaldi; Heidi Howard; Natasha Marie Llorens; Veronika Sheer | Design: M.H. Orfanos.
"Heidi's practice, like this book... gives us paintings "in the expanded field" of our lives, relationships, books, clothes, favorite colors. ...We are always moving, and Heidi is painting the move and the pause."
- Gaby Collins-Fernandez
Colors Make Us Do Vibrant Deeds! by Queens-based artist Heidi Howard showcases the artist’s paintings, interspersed with photographs of the studio, landscapes, times spent with friends and family in the studio and outside of it, screenshots of social media activity, and other pieces of the artist’s life. Through painting, and now this limited edition book, Howard explores the intimacies of friendship as a core theme. For the editions available at Artbook @ MoMA PS1, Howard has specially wrapped each edition in dyed fabric remnants from their studio.
PHŒBE PRESS, 2024
Sewn bound softcover (with thread) 424 pages
Artbook Pins (Set of 5)
Artbook's very own pins are now available! Do you question all authority? Do you love when someone reads to you? Are you into someone, and are they into you? These pins are meant for you.
One button worn by one person,
seen by many, many ones.
Wearing one meets more many.
Yvonne Rainer
In conjunction with MoMA PS1's exhibition Ralph Lemon: Ceremonies Out of the Air, we are carrying an in-store selection of books on dance and performance broadly, including the following titles on the renowned choreographer and dancer Yvonne Rainer:
Yvonne Rainer
Work 1961-73
Primary Information, 2020 | Paperback | 344 pages | 8 x 11 inches | $40.00
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Yvonne Rainer: Moving and Being Moved
Roma Publications, 2017 | Paperback | 128 pages | 5 x 8.5 inches
Radical Bodies: Anna Halprin, Simone Forti, and Yvonne Rainer in California and New York
1955-1972 | University of CA Press, 2016 | Hardcover | 192 pages | 8.5 x 10.5 inches
