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.
Book Launch for
sadé powell’s dontbeabitterbtch
With sadé powell, Candace Hill-Montgomery, and Fred MotenFREE RSVP
Order the book
Please Join us Saturday, October 18th at 4PM-5:30 PM inside Artbook @ MoMA PS1 Bookstore for the launch of Concrete Poet sadé powell's new book dontbeabitterbitch with a reading and conversation between sadé powell and multi-media artist Candace Hill-Montgomery moderated by theorist and poet Fred Moten. Join us in-person or livestream on Instagram @artbookps1
dontbeabitterbtch layers typewritten poems and monoprints that conceal and defer, tracing interior life through text and image.
Paperback | 96 pgs. | 8.5"x7"x25" | $18.00
Fred Moten is Professor of Performance Studies at New York University. He has written a number of books of poetry and criticism, including consent not to be a single being (Duke University Press, 2017, 2018); and Perennial Fashion Presence Falling (Wave Books, 2023). Moten is now primarily engaged in a set of ongoing collaborations. He and Stefano Harney are co-authors of three books the most recent of which is All Incomplete (Minor Compositions/Autonomedia, 2021). He is a member of the interdisciplinary arts collective Moved by the Motion and under its auspices is co-author, with Wu Tsang, of Who touched me? (If I Cant Dance, I Dont Want to be Part of Your Revolution, 2016). Moten frequently accompanies bassist Brandon López. Their latest album is Revision (Tao Forms Records, 2025). Moten works on all of this with his comrade Laura Harris and their children Julian and Lorenzo.
Sadé Powell is a concrete poet based in Staten Island, NY. she uses a 1930s royal typewriter and experimental print and paper techniques to explore black feminist poethics, drawing on black vernacularity and dissemblance. her debut, dontbeabitterbtch (selva oscura press, 2025), layers typewritten poems and monoprints that conceal and defer, tracing interior life through text and image. she is also the author of wordtomydead (ugly duckling presse, 2023) and periodluv(belladonna*, 2023), and is the 2025 recipient of the anna rabinowitz award and a jerome hill artist fellow in literature.
Candace Hill Montgomery originally from St. Albans , Queens, NY is a multi media artist. . Having received her BA in Art History and Studio Art from Fordham University studying with both Michelle Stuart and Joel Perlman. Her MA in Art from Hunter College studying with Robert Morris and award winning critic Rosalind Krauss. She received the Guggenheim Fellowships in 1984 in Multi- Media. Her work has been widely exhibited most recently reading at Oto in the UK with poet and publisher David Grundy and Fred Moten at Blank Forms Gallery , Brooklyn , N.Y. 2024 . She is represented by Holly Bush Gardens Gallery , UK. Hill’s most recent books of poetry are Muss Sill , Distance No Object publisher and Short Leash Kept On , published by Materials Press. UK & Berlin and African Voices Fall 2025 edition. Recent multi media exhibitions ,March - June , 2025 at Kettles Yard Museum, Cambridge UK with a solo exhibit scheduled at Holly Bush Gardens in 2026. Her art work may be seen currently on view , London Frieze October 2025 also at the newly reopened Montauk Playhouse , Montauk , NY, through October 2025 , Here and There , The Church , Sag Harbor through December,
CULTS THAT KILL
Bibiliomancers x Brendan Donnelly
Featuring rare publications and ephemera from Bibliomancers and Brendan Donnelly's collections that focus on the satanic aspects of cults and related pop culture.
Paperback
Limited Edition
Edited by: Bibliomancers & Brendan Donnelly
Publisher: Bibliomancers
Year: 2025
Size: 140 × 215 mm
Pages: 106
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
Charles Moore
The Black Market
SIGNED by Charles Moore
Art collecting can be time-consuming, complicated and confusing for the beginner...
...but it doesn't have to be.
In this clear and easy-to-follow guide, learn the necessary knowledge and skills to begin building your own art collection.
Art is the purest form of hope, dreams, and sentiments. A single image can reveal long-held secrets, spark the imagination, offer a sense of belonging and home.
Art conveys the words the artist often might not have been able to speak aloud. In, The Black Market: A guide to art collecting, Charles, a long-time art collector and art historian, introduces novice collectors and would be collectors to the art world, its deep roots, its connections to our pasts, and its hopes for our future.
In the first part of the book, you'll discover the history of African American art and will find essays born in the decades between 1900 - 1990; fascinating lecture reviews on books and exhibition catalogs that invite art enthusiasts to explore the culture, the storied lives, the simplicity, and the everyday struggles and triumphs of the African American experience.
The final sections of the book offer insights and tips about the business side of becoming an art collector. You'll find an overview of storage, collection management, a glossary of terms, and the all-important guide to insurance for your collection and interviews featuring prominent art advisors and collectors like Hill Harper and Keith Rivers.
If you ever wanted to become a collector, wanted to learn more about the African American art, or want to deepen your knowledge, The Black Market: A guide to art collecting is a fascinating, immersive, and essential guide to developing a meaningful and awe-inspiring collection.
Petite Ivy Press, 2020 | 204 pages
Charles Moore
Global Conversations
SIGNED by Charles Moore
A broad overview of the contemporary Mexican art scene through a series of conversations with its leading figures. With Global Conversations: Mexico, art historian and curator Charles Mooreinaugurates a series of publications that investigate the cultural landscapes of different countries through conversations with key figures in their contemporary art scenes. This initial installment features in-depth interviews with influential Mexican artists, curators, architects, and cultural leaders—Fernanda Canales, Amanda de la Garza, Gonzalo García, Nicolás Guzmán, Erika Harrsch, Perla Krauze, Fernando Laposse, José Castañeda Lepov, Aliza Nisenbaum, and Bosco Sodi—in a compelling exploration of Mexico City's emergence as a global epicenter of contemporary art.
Les Presses Du Reel, 2025 |
200 pages
Phoebe Berglund
Manual Labor Stretches
SIGNED by Phoebe Berglund
Work Posters is a project by artist and choreographer Phoebe Berglund. Produced in two editions, Manual Labor Stretches and Office Stretches, each poster presents a range of effective stretching exercises for workers across the labor force.
Work Posters | Photography and Text by Phoebe Berglund | Design by Simran Ankolkar | Wendy’s Subway, 2020 | Digital print on paper, laminated | 18 x 24 inches | Edition of 100 each | $40
David Reinfurt
A *Co-* Program for Graphic Design
SIGNED by David Reinfurt
From ancient Rome to outer space, A *Co-* Program for Graphic Design features contributions by Danielle Aubert, Tauba Auerbach, Barbara Glauber, Shannon Harvey, Adam Michaels, Philip Ording, and Adam Pendleton. This collectively driven text expands David Reinfurt’s pragmatic and experimental approach to pedagogy into a collaborative project that weaves together a multiplicity of voices to present a polyphonic approach to design history and teaching.
This book extends Reinfurt’s highly acclaimed A *New* Program for Graphic Design to include material from three new Princeton University courses (Circulation, Multiplicity, and Research) expressly designed for online teaching.
These courses present a *co-*llaborative and *co-*operative way of telling and teaching design history, taking on subjects from the Detroit Printing Co-op, Corita Kent, and Charles and Ray Eames, to Marshall McLuhan, Sylvia Harris, and Virgil Abloh. Through a series of in-depth historical case studies and assignments that progressively build in complexity, the book serves as a practical guide to visually understanding the history—and shaping the future—of our designed world.
Inventory Press | 6 × 9 inches | 256 pages | Softcover | $29.95
Corriani Edizioni Publications: Bruno Munari: Design as (Programmed) Art and Bruno Munari: 47 Fotos
SIGNED by David Reinfurt at New York Art Book Fair
Bruno Munari: Design as (Programmed) Art
SIGNED by Jason Fulford at New York Art Book Fair
Bruno Munari: 47 Fotos
In Design as (programmed) Art, by David Reinfurt” David Reinfurt, graphic designer and co-founder of The Serving Library, examines Munari’s projects in which design was conceived according to the principles of programmed art: from typography to layout to the use of color, In projects including the Campari poster for the Milan subway, as well as a series of book covers designed for Einaudi and Bompiani between the 1960s and 1970s.
Corriani Edizioni | Italian and English | 12 cm X 16 cm | 96 pages | 2025 | $ 26.00
47 Fotos, by Jason Fulford, published on the occasion of the exhibition Fotochiacchierata curated by photographer Jason Fulford, collects 47 photos - those taken by Bruno Munari or on his behalf in black and white, those by Fulford in color. Fulford, who puts the association of images at the center of his work as an engine for new meanings, gives us here an unexpected photographic portrait of Munari and his way of looking at photography.
Corriani Edizioni | Italian and English | 12 cm X 16 cm | 104 pages | 2024 | $ 26.00
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
The Gatherers
Edited with text by Ruba Katrib. Foreword by Connie Butler.
Contributions by Kristy Bell, Amber Esseiva, Anette Freudenberger, Sheldon Gooch, Summer Guthery, Estelle Hoy, Quinn Latimer, Laura McLean-Ferris, Camila Palomino, Filipa Ramos, Nadim Samman, Fabian Schöneich, Jeppe Ugelvig. Designed by Alec Mapes-Frances.In a time of unfettered waste, global artists contend with excess and its effects.
Accompanying the major exhibition at MoMA PS1, The Gatherers brings together original texts on issues relating to waste, accumulation and excess. In a time when social and political lives are shaped by the glut of garbage and information, the exhibition draws methodological parallels between 14 artists across four continents. This compendium features full-color illustrations of their artworks, which span sculptural installation, assemblage, painting, video and performance. In a longform essay, Ruba Katrib contextualizes their practices within the promises and failures of neoliberalism, the shifting constructions of East and West and the explosion of new technologies. Additionally, the catalog situates their practices within larger art historical trends, from Greek asàrotos òikos and Dutch still lifes, to 20th-century Surrealism and postwar assemblage. With newly commissioned texts on each of the participating artists by leading curators, theorists and writers from across the globe, the catalog offers incisive critical writing on issues in contemporary art and the 21st century.
Artists include: Karimah Ashadu, Tolia Astakhishvili, Miho Dohi, Andro Eradze, He Xiangyu, Samuel Hindolo, Geumhyung Jeong, Klara Liden, Jean Katambayi Mukendi, Nick Relph, Selma Selman, Ser Serpas, Emilija Škarnulyt.
MoMA PS1, 2025 | 6.5 x 9.25 in | 144 pages | 60 color | Hardcover
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
Heidi Howard:
Colors Make Us Do Vibrant Deeds!
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
David Horvitz
Nostalgia
Third Edition
by David Horvitz
This project is about erasure; memory, forgetting, data, archives, etcetera. The book ‘Nostalgia’ contains 300 image descriptions of deleted photographs taken on various digital cameras since the early 2000s and stored on computers, hard drives, and memory cards. Their diverse subjects range from personal moments, to visual note-taking as a mnemonic device, to photos used in artworks. This artists’ book questions tendencies to produce new images and instead moves in the opposite direction by deleting them and creating texts that produce images in the readers mind.
Edition Taube, Gato Negro, 2022, 304 p., 23 x 17 cm., Paperback | $30
Third Edition
by David Horvitz
This project is about erasure; memory, forgetting, data, archives, etcetera. The book ‘Nostalgia’ contains 300 image descriptions of deleted photographs taken on various digital cameras since the early 2000s and stored on computers, hard drives, and memory cards. Their diverse subjects range from personal moments, to visual note-taking as a mnemonic device, to photos used in artworks. This artists’ book questions tendencies to produce new images and instead moves in the opposite direction by deleting them and creating texts that produce images in the readers mind.
Edition Taube, Gato Negro, 2022, 304 p., 23 x 17 cm., Paperback | $30
(nostalgia)
First Edition
by David Horvitz
(Nostalgia) is a catalog of deleted photographs by David Horvitz.
Each page is labeled with a photo’s filename and date and a short description of what the photograph depicted. There’s great pathos in the simplicity of these descriptions. As Horvitz says, this is a world “over-inundated and amassed with photographs (mostly digital) and with eroded attention spans.” (nostalgia), then, becomes a way to mark the emotional content of this endless stream of photographs.
Edition Taube co-published with Gato Negro, 2019 | 124 p. | 23 x 17 cm. | Paperback
First Edition
by David Horvitz
(Nostalgia) is a catalog of deleted photographs by David Horvitz.
Each page is labeled with a photo’s filename and date and a short description of what the photograph depicted. There’s great pathos in the simplicity of these descriptions. As Horvitz says, this is a world “over-inundated and amassed with photographs (mostly digital) and with eroded attention spans.” (nostalgia), then, becomes a way to mark the emotional content of this endless stream of photographs.
Edition Taube co-published with Gato Negro, 2019 | 124 p. | 23 x 17 cm. | Paperback
For Ruth, the sky in los angeles
by Ruth Wolf-Rehfeldt and
David Horvitz
Signed by David Horvitz
An intimate, cross-generational conversation through mail art. American multimedia artist David Horvitz (born 1982) visited visual poet and mail artist Ruth Wolf-Rehfeldt (born 1932) in her native Germany while conducting research in 2014. There, Horvitz discovered her archives of “typewritings,” graphic works that Wolf-Rehfeldt had used for mail art and sent across the globe from her studio in East Berlin in the 1970s. Later, Horvitz invited Wolf-Rehfeldt to use a disposable camera to record images of her house and garden and, in return, he photographed his studio in Los Angeles. These snapshots and dialogues are presented along with Horvitz’s text-based watercolors—such as For Ruth, the sky in los angeles and For Ruth, the wind to you, which were original sent as mail art. Together they constitute a delightful dialogue.
Spector Books, 2022 | Paperback, 9 x 6.25 in. / 112 pgs / 50 color. | $35.00
by Ruth Wolf-Rehfeldt and
David Horvitz
Signed by David Horvitz
An intimate, cross-generational conversation through mail art. American multimedia artist David Horvitz (born 1982) visited visual poet and mail artist Ruth Wolf-Rehfeldt (born 1932) in her native Germany while conducting research in 2014. There, Horvitz discovered her archives of “typewritings,” graphic works that Wolf-Rehfeldt had used for mail art and sent across the globe from her studio in East Berlin in the 1970s. Later, Horvitz invited Wolf-Rehfeldt to use a disposable camera to record images of her house and garden and, in return, he photographed his studio in Los Angeles. These snapshots and dialogues are presented along with Horvitz’s text-based watercolors—such as For Ruth, the sky in los angeles and For Ruth, the wind to you, which were original sent as mail art. Together they constitute a delightful dialogue.
Spector Books, 2022 | Paperback, 9 x 6.25 in. / 112 pgs / 50 color. | $35.00
How to shoplift books
David Horvitz
How to shoplift books by David Horvitz is a guide on how to steal books. It details 80 ways in which one can steal a book, from the very practical, to the witty, imaginative, and romantic. This textbook is readable, but also shamelessly draws attention to its existence as an object, a conversation starter, a thing that can be acquired by fair means or foul. This is a book that turns a point of sale display into an intellectual and ethical adventure. A comprehensive guide to stealing books with its price printed on the cover, clearly visible, provokes the visitor of a bookshop to become aware of the unconscious decisions, pre-empted by others, that we make every day. The poetic, funny and paradoxical texts also bring to light some structural elements of the mechanics of bookselling and our relation to the exchange of goods. It inserts friction into the conditioned behaviour we display when we are moving through commercial spaces. All advertising tells us to buy things, we rarely come across a message encouraging us to steal – especially not one with the authority that print still carries.
Edition Taube, 2019, Softcover | 84 pages
David Horvitz
How to shoplift books by David Horvitz is a guide on how to steal books. It details 80 ways in which one can steal a book, from the very practical, to the witty, imaginative, and romantic. This textbook is readable, but also shamelessly draws attention to its existence as an object, a conversation starter, a thing that can be acquired by fair means or foul. This is a book that turns a point of sale display into an intellectual and ethical adventure. A comprehensive guide to stealing books with its price printed on the cover, clearly visible, provokes the visitor of a bookshop to become aware of the unconscious decisions, pre-empted by others, that we make every day. The poetic, funny and paradoxical texts also bring to light some structural elements of the mechanics of bookselling and our relation to the exchange of goods. It inserts friction into the conditioned behaviour we display when we are moving through commercial spaces. All advertising tells us to buy things, we rarely come across a message encouraging us to steal – especially not one with the authority that print still carries.
Edition Taube, 2019, Softcover | 84 pages
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 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
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:
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.
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
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. 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: Structures for Life
Edited with text by Ruba Katrib. Text by Anne Dressen & Nick Mauss, Alex Kitnick, Lanka Tattersall.
A new exploration of Niki de Saint Phalle’s colorful and compelling public structures, with archival materials and more
This volume brings newfound attention to Niki de Saint Phalle’s work in architecture and public sculpture, and the commercial products such as perfume and jewelry that she produced to fund these ambitious projects.
Featuring a wide selection of images of her architectural works and rarely seen archival materials, this book places these projects within the context of her larger boundary-defying practice, drawing connections with politically charged works such as the films and books she made in response to the AIDS crisis in the 1980s.
Charting Saint Phalle's many efforts to radically open her practice beyond the confines of the art world, it serves as a survey of her practice from the 1960s until the early 2000s. Edited and with an essay by exhibition curator Ruba Katrib, the publication features new scholarship by Anne Dressen and Nick Mauss, Alex Kitnick, and Lanka Tattersall.
MoMA PS1
Paperback | 6.75” x 9” | 232 pgs
Edited with text by Ruba Katrib. Text by Anne Dressen & Nick Mauss, Alex Kitnick, Lanka Tattersall.
A new exploration of Niki de Saint Phalle’s colorful and compelling public structures, with archival materials and more
This volume brings newfound attention to Niki de Saint Phalle’s work in architecture and public sculpture, and the commercial products such as perfume and jewelry that she produced to fund these ambitious projects.
Featuring a wide selection of images of her architectural works and rarely seen archival materials, this book places these projects within the context of her larger boundary-defying practice, drawing connections with politically charged works such as the films and books she made in response to the AIDS crisis in the 1980s.
Charting Saint Phalle's many efforts to radically open her practice beyond the confines of the art world, it serves as a survey of her practice from the 1960s until the early 2000s. Edited and with an essay by exhibition curator Ruba Katrib, the publication features new scholarship by Anne Dressen and Nick Mauss, Alex Kitnick, and Lanka Tattersall.
MoMA PS1
Paperback | 6.75” x 9” | 232 pgs
| 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
| Niki de Saint Phalle: Tarot Cards |
“If life is a game of cards, we are born without knowing the rules. Yes we must play our hand. Is the tarot only a card game, or is there a philosophy behind it?“ --Niki de Saint Phalle
Game of 22 cards, 8 x 14 cm each.
Special screen printing with relief effect.
14 special colors + Braille paint on the front; 1 special color black on the back + UV paint.
| Niki de
Saint Phalle Inflatable Black 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
Inuuteq Storch
Flesh
SIGNED
For a period of time the Greenlandic photographer Inuuteq Storch lived in New York City. Here he found himself spiritually at home but homesick in his body. Growing up in a place, where nature dominates everything, his body, unlike his soul, missed being close to nature. Those feelings together created a very specific way of looking at his surroundings. He started finding images that represented familiarity in this unfamiliar place.
“In New York everything is made by humans. They decide which kind of nature there should be and what kind of trees to grow. It’s a fake nature. The only real nature is the sky.”– Inuuteq Storch
Inuuteq Storch (b.1989) grew up in Greenland in the 1990s. Most of his photographic work revolves around his cultural roots, mysticism, relationships, isolation, longing, love and complexity. Storch has studied photography at Fatamorgana – The Danish School of Art Photography in Copenhagen and at the International Center of Photography in New York. Storch has distinguished himself in recent years as a shining star on the international photography scene, not least following his selection as the representative for Denmark at the Biennale in Venice, 2024. Inuuteq Storch lives and works Sisimiut, Greenland.
Flesh is Inuuteq’s first instalment in a series of three books. The second chapter Keepers of the Ocean was released in May 2022.
Disko Bay, 2019 | OTA bound paperback with silver print fold out cover | 72 color photographs | Epilogue by Morten Bo | 128 pages | $90.00
Inuuteq Storch
Necromancer
SIGNED
Inuuteq Storch has distinguished himself in recent years as a shining star on the international photography scene, not least following his selection as the representative for Denmark at the Biennale in Venice, 2024. His new book Necromancer specifically explores Greenlandic society during the Covid pandemic. Here, Storch trains his gaze on the effects and aftermath of a pandemic on a society like Greenland’s. The images are not classically documentary (nor are they solely from Greenland), but rather more arbitrary glimpses of emotion and atmosphere, suffused with an intimacy and melancholy that seem strongly connected to the spiritual. While creating the book, Storch’s fascination with occultism and the connection between the physical and spiritual worlds grew – hence its title, Necromancer. At the same time, the images arose out of the post-apocalyptic context of a global pandemic, its overwhelming personal consequences, and the feeling of being alone in the world. Like all of Storch’s work, the book has a distinct poetic vein that invites readers to immerse themselves in Storch’s restlessness or to build upon the images, creating narratives of their own.
| Marrow Press | 224 p | ills bw | pb | English |
Hilton Als
Andy Warhol: The Series
Andy Warhol: The Series contains two previously unpublished television scripts by the writer Hilton Als for a series on the life of Andy Warhol. Drawing on historical accounts, rumors, and artworks, Als interweaves Warhol’s childhood as the sickly youngest son of Ruthenian immigrants in Pittsburgh, the bustle and hysteria of the Factory’s heyday in New York, and fantasies inspired by the artist’s fixation on Hollywood. The episodes center on two women who greatly shaped Warhol’s life. The first is his doting, sensitive mother, Julia Warhola, who lived with her son in New York for two decades (and even played an aging star in Warhol’s film Mrs. Warhol). The second is the “poor little rich girl” Shirley Temple, a childhood obsession whose signed headshot—“To Andrew Warhola”—cemented the budding artist’s preoccupation with celebrity. In these scripts, which were written in 2016 and 2017, Als is at the height of his powers, tenderly touching on themes of motherhood, faith, and fame.
With an introduction by Jennifer Krasinski.
Triple Canopy, 2017 | Perfect-bound, 96 pages | Offset printed
Hilton Als
My Pinup
In this brilliant two-part memoir, the Pulitzer Prize–winning writer Hilton Als distills into one cocktail the deep and potent complexities of love and of loss, of Prince and of power, of desire and of race. It’s delicious and it’s got the kick of a mule, especially as Als swirls into his mix the downtown queer nightclub scene, the AIDS crisis, Prince’s ass in his tight little pants, an ill-fated peach pie, Dorothy Parker, and his desire for true love.
Always surprising and stealthily—even painfully—moving, Als plumbs longing: “I inched closer to him as he danced to you, Prince. But already he was you, Prince, in my mind. He had the same coloring, and the same loneliness I wanted to fill with my admiration. I couldn’t love him enough. We were colored boys together. There is not enough of that in the world, Prince—but you know that. Still, when other people see that kind of fraternity they want to kill it. But we were so committed to each other, we never could work out what that violence meant. There was so much love between us. Why didn’t anyone want us to share it?”
New Directions, 2022 | 48 pages
Jack Whitten
The Messenger
SIGNED BY MICHELLE KUO, DAWOUD BEY AND JOSEPH LOGAN
Jack Whitten offered the world a new way to see. Over nearly six decades, he dared to invent new forms of abstraction, constantly transforming both perception and our understanding of art in society. "Jack Whitten: The Messenger" at the Museum of Modern Art, New York (on view through August 2, 2025) is the first comprehensive retrospective of Whitten's dazzling and trenchant abstraction from the 1960s–2010s, which transformed the relationship between art, race and society. Published to accompany the exhibition, this sumptuous catalog presents the full range of his career across painting, sculpture and works on paper, produced in New York and Greece, with texts by leading art historians and artists, and new technical analyses by conservators. Previously unpublished writings by the artist and an expansive chronology of Whitten's life, featuring newly discovered photographs and archival materials, bring into focus an artist who was as committed to human perception as to human rights, becoming one of the most important artists of our time.Edited with text by Michelle Kuo. Text by Julie Mehretu, Glenn Ligon, Anna Deavere Smith, George Lewis, Sampada Aranke, Mark Godfrey, Richard Shiff, Annie Wilker, Michael Duffy, Dana Liljegren, David Sledge, Helena Klevorn, Kiko Aebi, Eana Kim, JaBrea Patterson-West.
MoMA, 2025
9.5 x 12 in. | 304 pgs | 300 color | Hardcover | $75.00
Cao Fei: I watch that worlds pass by
Snoeck
Staff Favorites: Books on Film
Here are some of our favorite film books currently in stock at Artbook @MoMA PS1. What they share is a rich, contextual overview of each filmmaker's career.
Derek Jarman's Jubilee was a seminal film for many, though he's perhaps better known for Edward II, Sebastiane, and Blue. This book explores his diverse work, from experimental Super 8 films to queer painting and activism, with essays and photos accompanying each body of work. While their focus and mediums differ, Cao Fei’s work also features heavy social commentary and surrealism, evoking the feeling of entering a dreamlike world. In Fei’s case, she blurs the lines between the virtual and real as she explores the impact of globalization and internet culture on China. 'I Watch That Worlds Pass By' examines 3 major projects from her career, all delving into these themes. Hito Steyerl’s work also critiques the global capitalist system, with an emphasis on surveillance. In 'Broken Windows' (published alongside her exhibition of the same name) she teaches AI to recognize the sound of breaking glass, which feels especially timely as AI becomes more present. In contrast to 'Broken Windows', the protagonist in 'Memoria' struggles to recreate a sound that no one else seems to hear. While Weerasethakul’s meditation on memory feels spiritual, cyclical, and timeless, Steyerl’s work interrogates how the past is mediated through the digital archive. Weerasethakul is known for 'Uncle Boonmee', which won the Palme d'Or 2010. 'Memoria', was based off his own experience with Exploding Head Syndrome (EHS)—a condition where individuals hear loud noises in their sleep. Weerasethakul found the experience strange and dreamlike, and while making the film in Colombia, his symptoms mysteriously disappeared. This book offers a rare glimpse into his personal sketchbook as he explores a new country and makes this film. What unites these filmmakers’ works, for me, is their profound intersections between technology, memory, and identity.
Each of these books would be a happy addition to any film book collection.
Apichatong Weerasethakul: Memoria
Firefly Press
Derek Jarman
JRP Editions
Hito Steyerl
The City of Broken Windows
SKIRA
Shanekia McIntosh
A New Sense of Luxury
A New Sense of Luxury is the first full-length collection from poet & artist, Shanekia McIntosh.
“Shanekia Mcintosh’s A New Sense of Luxury is a lyric epic of presence, where being here and now is too often a choice between only Pleasurescrolling./Doomscrolling. - thus, not enough and too much at the same time. 21st-century luxury is such a muchness as that; up in imperial prolapse, what’s luxe ain’t nothing if the good feeling doesn’t cost someone some blood. Sometimes, the buyer’s. McIntosh spurns, reels, wants and winces in a tableau of cramped plentitude and roomy scarcity, taking inventory. This book tells us what’s extra and what’s missing.” - Douglas Kearney
Shanekia McIntosh is an interdisciplinary artist, with her work rooted in poetry, performance and installation. Her work is an exploration of memory and archives, guided by an insatiable curiosity and interest in philosophy and history, McIntosh uses her work to explore themes of time, dislocation, trauma, climate, passivity and action and connectivity through the lens of digital culture probing at the stories we tell ourselves and interrogating at who gets to tell them. In 2021, she released her debut chapbook, Spiral as Ritual, published by Topos Press.
Artbook @ MoMA PS1 is carrying the book in conjunction with a reading program for the current exhibition at MoMA PS1 “DON CHRISTIAN JONES: The Sumptuous Discovery of Gotham a Go-Go”. The program features Martine Gutierrez, Morgan Bassichis, and Shanekia McIntosh.
Eureka! Press
5x8 inches | 111 Pages | Digital Print |Letterpress Cover | Perfect Bound | First Edition of 400
$17.99
On the Town: A Performa Compendium 2016-2021
Gregory R. Miller & Co., 2022 | English | Paperback | 384 pages | 6.5 x 0.7 x 9.5 inches
Remembering a Dance: Parts of Some Sextets, 1965/2019: Yvonne Rainer, Emily Coates, Nick Mauss
Performa/Lenz/Wadsworth Atheneum | November 5, 2024 English| Paperback | 160 pages | 7 x 10 inches
Judson Dance Theater: The Work is Never Done
MoMA, 2018 | Paperback | 199 pages | 8 x 10 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
