Latin American artist Gego (19121994) produced a range of line-based abstract work, including drawings, prints, and wire sculptures. Focusing on a rare series of monotypes from the early 1950s, drawings and prints, and drawings without paper” and tejeduras” (woven paper pieces) of the late 1970s and 1980s, this fascinating book traces Gego’s exploration of line and space. Gego used lines as conceptual and visual tools to create in-between spaces within her works. Whether drawing lines on paper or projecting them into space, the artist sought to make visible the invisible.” She believed that line could express what is not physically present in natureincluding thought, intuition, and emotions. By manipulating the density of the lines or by interrupting them, she brought light, shadow, and feeling into her linear works.

Gego: Between Transparency and the Invisible

Arts & Photography

Ramírez, Mari Carmen

De Zegher, Catherine

Manrique, Josefina

History & Criticism

Other Distribution

Early in his career, Belgian painter James Ensor (1860-1949) broke away from Impressionism, rejecting its prettiness in favor of an original, highly dramatic style. Incorporating elements of satire, caricature, masquerade, and the grotesque, Ensor was a sharp observer of his social and political milieu and a skilled controversialist. Bridging the nineteenth and twentieth centuries and not easily fitting into one particular movement or group, his drawings are increasingly valued for their innovative subjects and techniques, as well as the strong social criticism at their heart. 
This volume, published to accompany the first major New York exhibition of Ensor's drawings, includes more than one hundred plates, most of them in color. Essays by Susan M. Canning (College of New Rochelle), Marcel De Maeyer (University of Ghent), and Robert Hoozee (Museum of Fine Arts, Ghent), along with a chronology by Xavier Tricot, serve to place Ensor's drawings in the context of both artistic and historical developments of his time and his oeuvre. 
Catherine de Zegher is executive director of the Drawing Center in New York City and cocurator (with Robert Hoozee) of the exhibition "Between Street and Mirror: The Drawings of James Ensor." 
Distributed for the Drawing Center

Between Street And Mirror: The Drawings of James Ensor

Univ. of Minnesota Press

A recent recipient of the highly prestigious MacArthur Foundation “Genius Grant,” Julie Mehretu is an important American artist. With several major solo exhibitions in the last few years, including a traveling exhibition organized by the Detroit Institute of the Arts that debuts in fall 2007, Mehretu has captivated her audience with her ambitious large-scale wall installations that include a dizzying array of signs, symbols, and motifs worked into compositions that take as their point of departure architectural renderings and sketches. While known primarily as a painter, it is the artist’s drawings that drive her work; she produces scores of major drawings a year (while her output of paintings generally never exceeds ten in a given year.) Concerned with how individuals come to understand their place in the world–both metaphorically and physically–through their identification with different communities or their experience of different places, Mehretu has created a body of work that is as dynamic as the subjects with which she is engaged. In this book–the most comprehensive study of her exquisite drawings–the fullness of her ideas and explorations of form are considered.

Julie Mehretu: The Drawings

Individual Artists

Rizzoli

Anna Maria Maiolino: Vida Afora / a Life Line

The Drawing Center

Published in conjunction with Belgian artist Joëlle Tuerlinckx's first American museum exhibitions at The Renaissance Society and New York's Drawing Center, this brilliant book, conceived and designed by the artist, is an artwork in its own right, a project of equal standing with the exhibitions themselves. For Chicago Studies: Les etants donnes at The Renaissance Society, Tuerlinckx combined video and slide projections, classroom furniture, sculptural elements, and moveable walls into a constantly changing installation whose conceptual identity incorporated the educational, administrative, and exhibition functions of the Society and the University building in which it is housed. For Drawing Inventory at The Drawing Center, the artist created a constellation of marks, which she measured and arranged in an infinitely additive process that mirrored the institution?s methods of broadening the definition of drawing. In this book Tuerlinckx applies institutional critique to the various forms of exhibition documentation, from installation photographs to registrar's condition photos, using it as yet another reconfiguration of the materials, forms, and concepts she arranges and rearranges, breaks down and rebuilds, examining the relations between objects, spaces, and people. In addition to exhibition documentation that redefines the term "exhaustive," the book includes an introduction by curators of the Drawing Center exhibition Catherine de Zegher and Katherine Carl, and essays by Jaleh Mansoor and Michael Newman. Co-published with The Drawing Center, New York.

Joelle Tuerlinckx: Study Book

Mansoor, Jaleh

Carl, Katherine

Newman, Michael

Renaissance Society

This publication will accompany Ellen Gallagher's exhibition at the Des Moines Art Center, which will feature twenty new drawings and a site-specific sculpture. In all of her work, Gallagher merges traditional abstraction with social commentary; this surprising union results in engaging and poetic works that examine the cultural signs of race. The major sculpture in this exhibition and catalogue will have the appearance of a jungle gym, and will be formed of obsessively painted, intertwined wooden dowels. The book as a whole will include essays by several prominent scholars, and will present Gallagher's interest in cultural history, science, and science fiction.

Ellen Gallagher: Preserve

Gallagher, Ellen

Fleming, Jeff

Kelley, Robin

Lubowsky Talbott, Susan

Des Moines Art Center

Ed Pien: Luminous Shadows presents the work of Toronto-based artist Ed Pien, known for his drawing-based installations that immerse the viewer in a surreal, unique experience. The book is lavishly produced, and illustrated throughout with two screenprinted 16-page signatures on bespoke paper with Pien’s latest drawings and stunning installation photographs. The book focuses on the eponymous exhibition curated by Catherine Elliot Shaw and presented at McIntosh Gallery in late 2015 that featured his two latest large-scale installations: Imaginary Dwelling, consisting of a makeshift townscape inside a tent with projected videos, mirrors and shadows; and Spectral Drawings, depicting ghostly figures rendered in white ink that float on walls with differing black gradations. The drawing-based installations explore ideas of fantasy and vision as shadows are illuminated on dark walls covered with his drawings. These shadows and projections create the illusion of ghostly silhouettes and figures presented within the installation space. Pien’s drawings are assembled as composite images of mysterious monster-human characters. The viewer has a sensual, emotional experience while interacting with the dream-like environments that balance haunting beauty, play and a sense of uneasiness. Pien’s work draws upon different influences including Asian ghost stories, myths and legends, hell scrolls, calligraphy, Inuit art and the work of artists such as Francisco Goya. Ed Pien: Luminous Shadows captures the magical, surreal qualities of Pien’s work with critical illustrated texts by Catherine de Zegher and Angela Kingston, further exploring Pien’s artistic practice while providing fascinating insight into his work and a contextual understanding of his wider practice. Ed Pien was born in Taipei, Taiwan, and immigrated to Canada at the age of 11. He received a BFA from The University of Western Ontario in 1982 and an MFA from York University in 1984. Pien’s work has been exhibited at the Drawing Center, New York; Biennale of Sydney, Australia; Goethe Institute, Berlin; Contemporary Art Gallery, Vancouver; the National Gallery of Canada; and McIntosh Gallery, London, Ontario, Canada. He also currently teaches at the University of Toronto.

Ed Pien: Luminous Shadows

Black Dog Press

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Books by De Zegher, Catherine