A companion guide to the traveling exhibition organized through F.R.A.M.E.--a major artistic exchange program between the U.S. and France--presents a bold new look at American art, focusing on works from the first half of the twentieth century by such masters as Ansel Adams, Milton Avery, Georgia O'Keefe, and Grant Wood.

American Art 1908-1947: From Winslow Homer to Jackson Pollock

Arts & Photography

de Chassey, Éric

History & Criticism

Harry N. Abrams

Widely credited with having contributed to the revival of painting in the 1990s, Belgian painter Luc Tuymans continues to expand our understanding of the medium. Sourcing imagery from books, magazines, lms, the internet, and increasingly his own iPhone photos, Tuymans’s unique selection of subject matter reveals his fascination with moral complexities. Exploring diverse and sensitive topics, many of which include historic references from World War II to more contemporary events such as 9/11, Tuymans presents imagery that at rst seems innocuous or approachable but upon deeper inspection can be entirely unsettling. Achieved through his masterful handling of paint, his works are often suggestive of memories or familiar people, places, and things. The latest in the Spotlight Series, which focuses on new bodies of work by contemporary artists, Tuymans continues to take on increasingly complex subject matters in his primarily muted palette. Published on the occasion of the artist’s 2020 solo exhibition at David Zwirner Hong Kong, this book features an essay by art critic Su Wei, who approaches Tuymans’s newest paintings and how they expand his oeuvre.

Luc Tuymans: Good Luck

Tuymans, Luc

Wei, Su

David Zwirner Books

"I am sometimes asked 'What is your objective' and this I cannot truthfully answer. I work 'from' something rather than 'towards' something. It is a process of discovery." Since 1961, Riley has focused exclusively on seemingly simple geometric forms, such as lines, circles, curves, and squares, arrayed across a surface-whether a canvas, wall, or paper-according to an internal logic. The resulting compositions actively engage the viewer, at times triggering sensations of vibration and movement. In the present selection, Riley advances her Measure by Measure series, her most extensive body of work to date, into a new, darker color palette. Once again, changing the way we look and offering a powerful effect on our eyes. This sense of dynamism was explored to great effect in the artist's earliest black-and-white paintings, which established the basis of her enduring formal vocabulary. In 2020, after visiting her own earlier works at her retrospective exhibition organized by the National Galleries of Scotland, Riley returned to black-and-white lozenges, adjusting the orientation of each shape to create a new visual sensation. In 1967, Riley introduced colour into her work, thus expanding the perceptual and optical possibilities of her compositions. Published on the occasion of the 2021 exhibition at David Zwirner, London, this monograph features new scholarship on the artist by art historian Éric de Chassey, who looks at how Riley's past, as well as previous artists, has led to this body of work.

Bridget Riley: Past into Present

Riley, Bridget

Olivier Mosset

Presses Du Reel

Julian Schnabel makes art out of life, finding his materials in the fabric of the everyday. He uses broken plates as an improbable picture ground; he paints on velvet, market stall covers, army tarps, kabuki theater backdrops, and boxing ring floors, found surfaces that lend their own rich history to the artist's exploration. A figurehead for the return of painting after his overnight success with a first New York solo show in 1979, he has since worked in a wide variety of media: making sculptures that transpose his pictorial forms into space as raw, seemingly time-worn artifacts; directing award-winning movies that paint portraits of artists and other subtly heroic figures; and even building his own dream of a Venetian palace in New York. "I want my life to be in my work, crushed into my painting like a pressed car. If it's not, my work is just some stuff," Schnabel has said, and this urgency permeates his oeuvre no matter what means or media the artist chooses.Now available in a popular edition, the complete range of Schnabel's work is portrayed in unprecedented depth in this TASCHEN monograph, made in dialog with the artist. The texts were contributed by friends and collaborators: Laurie Anderson draws an intimate portrait of Schnabel; in three essays by curators and art historians, Éric de Chassey discusses the paintings, Bonnie Clearwater the sculpture, and Max Hollein the site-specific work; Donatien Grau writes on the Palazzo Chupi, the artist's extravagant home in New York's West Village; while the novelist Daniel Kehlmann explores his cinematic oeuvre. This edition allows you to study the surfaces and artistic gestures and actions, offering the most generous opportunity to experience Schnabel's art outside of meeting it in person.

Julian Schnabel

Anderson, Laurie

Individual Artists

Taschen America, LLC

Alex Katz (born 1927) has become a leading chronicler of modern life in America, a model and forerunner to several schools of painting that came after him. Portraying in deadpan style the faces of New York and its environs since the 1950s, when he was a part of the later Cedar Tavern scene, Katz makes everyday enigmas of people, at once emptying them of meaning and bestowing upon them specific character and specific roles in life. Some of these faces may be familiar (poets Allen Ginsberg and Ted Berrigan), others equally striking simply add to Katz's sense of modern life as a parade or a pageant. An American Way of Seeing surveys work from 1968 onwards, from paintings to cutouts and multi-panel works. The more recent paintings reproduced herein convey new hints of lyricism, in their depiction of reflections in water and mute night-time scenes.

Alex Katz: An American Way of Seeing

Mönig, Roland

Tosatto, Guy

Kerber

<div>This catalog accompanies Edi Hila: Painter of Transformation, the first retrospective exhibition devoted to the Albanian painter Edi Hila, considered one of the last masters from Eastern Europe. Through Hila's eyes, the Eastern European experience is stripped of accident or adventure and instead gives weight to distilled general truths. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; The catalog traces key moments from his formative artistic experience, including a firsthand account of his infamous 1972 painting, Planting of Trees, which because of its unusual use of color and form that ran contrary to approved socialist realist doctrine, led to his being forced to labor in a poultry processing plant. In the evenings, however, he secretly created a series of drawings documenting the life of the workers, which became the Poultry series, harrowing in its raw realism. The publication continues to track Hila's practice through the 1990s, when we find the artist carefully observing life after the fall of Enver Hoxha's regime and his attempts at depicting the realities of the Albanian transformation on the precipice of the new millennium, before concluding with a review of Hila's contemporaneous practice, which discloses more the limitations and traps of transformation than its promises. Richly illustrated with reproductions of Hila's work in full color, many of them never before published, this is a groundbreaking catalog, one that will help establish Hila's international reputation as a master painter of the region and Europe at large. &nbsp;</div>

Edi Hila

Mytkowska, Joanna

Hila, Edi

Rhomberg, Kathrin

Shkololli, Erzen

Museum of Modern Art in Warsaw

A rebel and feminist, the Switzerland-born Miriam Cahn is one of the major artists of her generation. Widely known for her drawings and paintings, she also experiments with photography, moving images, sculptures, and performance art. Cahn’s diverse body of work is disturbing and dreamlike, filled with striking human figures pulsing with an energy both passionate and violent. These pieces, along with Cahn’s reflections on artistic expression, have always responded to her contemporary moment. In the 1980s, her work addressed the feminist, peace, and environmental movements, while the work she produced in the 1990s and early 2000s contains allusions to the war in the former Yugoslavia, the conflict in the Middle East, and the September 11 terrorist attacks. Her recent production tackles ever-evolving political conflicts, engaging with the European refugee crisis and the “#metoo” movement. Miriam Cahn: I as Human examines different facets of the artist’s prolific and troubling oeuvre, featuring contributions from art historians, critics, and philosophers including Kathleen Bühler, Paul B. Preciado, Elisabeth Lebovici, Adam Szymczyk, Natalia Sielewicz and .

MIRIAM CAHN: I AS HUMAN (M Books)

Preciado, Paul B.

Segato, Rita

Lebovici, Élisabeth

Dziewanska, Marta

Bühler, Kathleen

Szymczyk, Adam

Ara, Anna

Garcia, Fernando López

Sielewicz, Natalia

Momro, Jakub

I Mutanti serves as the exhibition catalog to the French Academy in Rome - Villa Medici exhibition of the same title. The catalog is made up of five volumes that correspond to the five artists participating in the show. The work of Adel Abdessemed, Stephen Dean, Ellen Gallagher, Adrian Paci, Djamel Tatah makes it clear from the outset that they come from complex historical backgrounds. The unifying concept between these artists lies in their approach to expressing how individual cultural identities develop as a result of migration, colonization, and post-colonial sentiments in the Western world. The artists themselves are multinational, multi-ethnic, or multicultural, and at times all three; however with such infinite reference and concourse, they neither obliterate each other in the name of some idealized community nor efface distinct histories and pasts into the melting pot of the ever more globalized world. Above all, their creations are the concrete result of the process of hybridization. Their works are products of mixed media and various developments, which produce multi-faceted pieces upon which the concepts of identity and multiculturalism can be reflected and interpreted on an infinite number of levels. The Villa Medici offers I Mutanti a home that looks significantly toward the future while maintaining a close tie to the past in a city whose history has been built on influences of hybridization through continuous contact with different civilizations, Rome.

I Mutanti: Ellen Gallagher

DRAGO

I Mutanti serves as the exhibition catalog to the French Academy in Rome - Villa Medici exhibition of the same title. The catalog is made up of five volumes that correspond to the five artists participating in the show. The work of Adel Abdessemed, Stephen Dean, Ellen Gallagher, Adrian Paci, Djamel Tatah makes it clear from the outset that they come from complex historical backgrounds. The unifying concept between these artists lies in their approach to expressing how individual cultural identities develop as a result of migration, colonization, and post-colonial sentiments in the Western world. The artists themselves are multinational, multi-ethnic, or multicultural, and at times all three; however with such infinite reference and concourse, they neither obliterate each other in the name of some idealized community nor efface distinct histories and pasts into the melting pot of the ever more globalized world. Above all, their creations are the concrete result of the process of hybridization. Their works are products of mixed media and various developments, which produce multi-faceted pieces upon which the concepts of identity and multiculturalism can be reflected and interpreted on an infinite number of levels. The Villa Medici offers I Mutanti a home that looks significantly toward the future while maintaining a close tie to the past in a city whose history has been built on influences of hybridization through continuous contact with different civilizations, Rome. * index of images and text in three languages (French, Italian, English)

I Mutanti (English and French Edition)

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