Bøger udgivet af David Zwirner

A joining of two artists, exploring their shared fixation on the problematics of architecture, language, institutions, scale, and value“[The exhibition is] powerful and unhinged and overbuilt—a monument to the entropy of the postindustrial city, and the tenuous dance of its inhabitants.” —New York Times Gordon Matta-Clark and Pope.L are esteemed for their respective interdisciplinary practices that examine the value and paradoxes of urban life as well as the risk inherent in art making. Utilizing performance, film, drawing, and various multimedia projects, the two artists often open up interstitial spaces by realizing sweeping gestures that take into account shifting, decentralized zones. Grounded in the concept of failure, the sixth exhibition at 52 Walker and its accompanying catalogue reconsider societal, artistic, and structural failure—and in its expression a consideration of hope. With an introduction by the curator and director of 52 Walker Ebony L. Haynes, this publication also includes a conversation piece between Haynes, the artist Pope.L, and the director of LAXART, Hamza Walker, that discusses the visual, material, and conceptual similarities between Pope.L’s and Gordon Matta-Clark’s work and what it means to treat the possibilities of failure as an artistic medium.

This collection of Mamma Andersson’s latest paintings spotlights the beauty and mystery of nature and the erasure of time"What Mamma Andersson does in some of these pictures is on the one hand depict the illusions, the one thing which is another thing—masks, theater, statues, paintings—and on the other portray that which is only itself, potted plants, tree trunks, trees, landscapes. Everything is motionless, these rooms are located out of time." —Karl Ove Knausgaard, Mamma Andersson: A Storm Warning In a series of oneiric paintings inspired by interiors and the landscape of her childhood, the Swedish painter Mamma Andersson muses on the line between reality and illusion. She introduces thoughtful warm hues into an otherwise cool, muted color palette, lending an otherworldly feeling to the everyday scenes and subject matter that populate this new body of work, painted between 2020 and 2021. A companion to Sleepless and The Lost Paradise, this publication features a commissioned essay by Karl Ove Knausgaard, a meditation on wistful childhood memories of carefree exploration and the portal art creates between the world we live in and the worlds Andersson conjures with her brush.

A celebration of the representation, figuration, and classical antiquity in Mamma Andersson’s newest paintings."When I look at this collection of pictures, . . . what strikes me first is the image-making capacity itself and the endless stream of images it brings forth and always has brought forth into the world.” —Karl Ove Knausgaard, Mamma Andersson: Sleepless The Swedish painter Mamma Andersson draws inspiration from a wide range of photographic source materials, art history, filmic imagery, theater sets, and period interiors, as well as the sparse topography of northern Sweden. The paintings and works on paper collected in this volume explore atmosphere and mood through representations of masks, statues, and figurines, which take on a dreamlike, mythical quality in stark silhouettes. While recalling classical genres of still life, landscape, and interiors, this body of work, painted in 2021 and 2022, blends our sense of the past, present, and future. A companion to the artist’s previous books A Storm Warning and The Lost Paradise, this limited-run publication features a new essay by Karl Ove Knausgaard. The text considers the history and evolution of the human desire to depict our surroundings, placing Andersson’s doubled renderings—“pictures of pictures”—within a tradition of painting not from life but from representations of life.

Spotlighting the narrative and mythical imagery of Marcel Dzama, this one-of-a-kind blank book holds a unique space for creative play and contemplation ¿Enjoy what you are making, people can feel it in the work¿I feel that art has been a good escape from the reality we are in.¿ ¿ Marcel Dzama Drawing inspiration from folklore and fairy tales and incorporating art-historical influences, Marcel Dzamäs work has secured a cult following of musicians and artists. His celestial imagery, masked characters, and aquatic scenes resonate with viewers of all ages. The vibrant and fantastical work featured on the cover and endpapers of Dzamäs firstArtist Journalenchants the mind and encourages unbridled expression. Each journal is beautifully crafted in Verona, Italy.About The Artist Journals The Artist Journals go beyond canonical art to capture the modern and contemporary spirit of today¿s most acclaimed painters, sculptors, and other major creative forces. Created in close collaboration with each artist or artist¿s estate, these beautifully produced blank books¿with stunning wraparound cover artwork, endpapers, patterned interior pages, and bellybands that transform into collectible bookmarks¿are works of art themselves, designed to inspire, collect, and gift to a wide audience.

A follow-up book to the popular Making a Great Exhibition, I Am an Artist offers young readers exciting insights into the many ways artists work and the reasons why they make art. Geared to children ages 4 to 8, but with appeal for all ages, this colorful and playful book asks: Who are artists? Why do they make art? What materials do they use? What tools do they work with? What forms do their artworks take? Structured around a tour of an artists’ studio complex, the book introduces readers to street artists, ceramicists, conceptual artists, textile artists, photographers, glassblowers, and more! The artists share their working spaces and their techniques while explaining why they make art. Rose and Doro’s first publication, Making a Great Exhibition, published in 2021, was acclaimed by The New York Times for “demystifying the art world and making it accessible to budding young artists,” and lauded by the renowned author and illustrator Oliver Jeffers, who wrote, “If this book helps shed light to just one kid that [art] is a viable career option, then it has done its job, as art is indescribably important!” Now Rose and Doro have teamed up for a second time to bring their experiences with and love for the world of art to a young audience.

A comprehensive and inspiring collection of essays by Larry Neal, a founder of the seminal Black Arts Movement“The Black Arts Movement is radically opposed to any concept of the artist that alienates him from his community. Black Art is the aesthetic and spiritual sister of the Black Power concept. As such, it envisions an art that speaks directly to the needs and aspirations of Black America.” —Larry Neal Growing up in Philadelphia, Neal was surrounded by Bebop music and writing. He culled inspiration and teachings from Ralph Ellison, Langston Hughes, and the leaders of the Harlem Renaissance. After studying folklore at the University of Pennsylvania, Neal became a prolific poet and critic, and he served as the arts editor for the Liberator where he published many of his essays about art. Neal encouraged artists to produce work that was not only politically engaged but also unapologetically rooted in the Black experience, and this message reverberated through African American literature, theater, music, and visual arts. He probed the notion of the Western art historical canon and challenged Black artists and writers to reshape artistic traditions. Deeply invested in cultural and personal understandings of the artist's intentions and experiences, Neal argues that to properly create and critique a work of art one must invest in the history of the artist's culture. With an introduction by the writer and researcher Allie Biswas, this publication celebrates and memorializes the great writings of a powerful and influential activist and artist.

An intimate testament to the power of friendship between two creative forces—available again in English after more than a century“I exaggerate, I sometimes make changes to the subject, but I still don’t invent the whole of painting; on the contrary, I find it ready-made, but to be untangled, in the real world.” —Vincent van Gogh The painter and poet Émile Bernard’s firsthand account of the beloved Dutch painter Vincent van Gogh’s life offers a close perspective into the difficulties the artist faced. First published in French in 1911, and presented here in English for the first time, Bernard details van Gogh’s approach to painting, his tools, his style, his love of the medium. Moreover, he chronicles his attempts to have van Gogh’s work recognized after his death, a sign of a true friend. Shedding light on the artistic community they were part of, Bernard also discusses notable figures such as Claude Monet, Paul Gauguin, and Émile Zola, in his storied account of his friend’s life and work.  Letters written by van Gogh to a young Bernard, some of which are included in this volume, further the import of the friendship between the two men. Van Gogh’s words of advice to Bernard as well as ruminations on his own practice, inspirations, and creative struggles are revealed in these pages.  Brought together and introduced by preeminent van Gogh scholar Martin Bailey, these texts present a sensitive and discerning portrait of van Gogh that goes beyond his reputation as a troubled genius.

Featuring the lush, powerful paintings of Noah Davis, this blank book—the latest in The Artist Journals series—offers the ideal forum to energize the inner artist or writer.The late American artist Noah Davis made his mark as both a painter of ethereal figurative works and as a pillar of the Los Angeles creative scene. With his wife and fellow artist Karon Davis he founded the Underground Museum in 2012, a generative cultural institution and artspace. His first Artist Journal celebrates his singular approach to delicate rendering, unexpected brushwork, and subjects surrounded by potent emotional luminescence. About The Artist Journals The Artist Journals go beyond canonical art to capture the modern and contemporary spirit of today’s most acclaimed painters, sculptors, and other major creative forces. Created in close collaboration with each artist or artist’s estate, these beautifully produced blank books—with their stunning wraparound cover artwork, endpapers, patterned interior pages, and bellybands that transform into collectible bookmarks—are works of art themselves, designed to inspire, collect, and gift to a wide audience

A contemplative exploration of the work of Yun Hyong-keun, a renowned Korean abstract painter, during a transformative period in the early 1980s“His brushstrokes bled naturally across the linen or cotton raw canvas—appearing light brown as its fabric was not bleached—reminiscent of traditional East Asian calligraphy or ink and wash paintings.” —The Korea Times From 1980 to 1982, Yun Hyong-keun resided in Paris, seeking both peace from the violent political turmoil that exploded in South Korea and a new, artistic center in which to create work. His brief but illuminating stay in the city became the locus of his freedom of expression, which had been subject to political repression he had experienced in his home country. Yun’s signature abstract compositions engage and transcend Eastern and Western art movements and visual traditions, establishing him as one of the most significant Korean artists of the twentieth century. He is the most prominent figure associated with the Dansaekhwa (monochrome painting) movement, the name given to a group of influential Korean artists from the 1960s and 1970s. Using a restricted palette of ultramarine and umber, Yun created his compositions of monolithic swathes by adding layer upon layer of paint onto raw canvas or linen, and hanji (Korean mulberry paper), often applying the next coat before the last one had dried. Published on the occasion of the artist’s exhibition at David Zwirner, Paris, in 2023, this limited-run cloth-bound catalogue focuses on his paintings and works on hanji. In an accompanying text, the art critic Oh Gwangsu considers Yun’s work prior to his move to Paris, particularly the artist’s shift toward his signature works in the 1970s. The writer Mara Hoberman then reflects on Yun’s practice and influences upon his arrival in the European capital, including an examination of his more nuanced understanding of the color black, which takes on different meanings in France and Korea.

Tau LewisâEUR(TM)s mythical sculptures create elaborate portals into fantastic worlds âEURœAt 52 Walker, artist Tau Lewis transmutes the lifeblood of scrap objects into something sanctified. . . . IâEUR(TM)m reminded that an art gallery can also be a temple.âEUR? âEUR" New York magazine Following her acclaimed presentation Divine Giants Tribunal at the 2022 Venice Biennale, Lewis has continued to create anthropomorphic forms inspired by those in Yoruban mask dramasâEUR"ones which are spiritually activated by the wearer and the audience and, by extension, their community. Conversing with spiritual and ancestral pasts, LewisâEUR(TM)s works reinvent and reconsider narratives of Greek myths, theater, and death. In this body of work, the artist reexamines apocalyptic themes as an opportunity for reconstruction and transformation. Documenting and expanding on LewisâEUR(TM)s exhibition at 52 Walker titled Vox Populi, Vox Dei, this catalogue contextualizes the artistâEUR(TM)s investigations and expressions. Poetry by the multidisciplinary artist and activist Yves B. Golden complements LewisâEUR(TM)s otherworldly motifs. With a curatorâEUR(TM)s note by Ebony L. Haynes, this publication also features an essay by Tiana Reid that explores LewisâEUR(TM)s practice, drawing connections between sources that range from Joy James to Frederick Douglass.

Dazzling and playful, Katherine Bernhardt’s paintings highlight her fascination with American pop vernacular, from Pokemon and the Pink Panther to Crocs and psilocybin mushrooms.“Bernhardt has always been impressive for her ability to combine the immediate, seductive properties of paint with the infectious humor of topical pop culture.” —Hyperallergic Bernhardt’s boundless visual appetite has established her as one of the most exciting painters working today. Thinking about the relationship between art, objects, and commerce, Bernhardt spotlights iconic motifs of cartoons and cultural symbols. Colors and lines bleed and pool together, revealing Bernhardt’s brisk and improvisational process. Monumental in size, subject matter, and vibrancy, her works demand attention. Expanding on the exhibition at David Zwirner, London, in 2022, this catalogue includes additional paintings and works on paper in which Bernhardt develops her ongoing body of work. With many details of paintings, this significant publication gives the artist’s work ample space to play. Suzanne Hudson’s essay considers Bernhardt’s work from an art-historical perspective and explores the artist’s work and life.

This highly anticipated catalogue, accompanying Gerhard Richter’s first exhibition with David Zwirner, presents Richter’s last paintings along with his recent explorations in drawing, printing, and sculpture."[His last paintings] can feel almost like exquisite texts to be read. . . . Their freshness and spontaneity feels like a new beginning." —Roberta Smith, The New York Times Known for his abstract and realist paintings, Gerhard Richter has pursued a diverse and influential practice characterized by a decades-long commitment to the medium and its formal and conceptual possibilities. This remarkable book celebrates the breadth of Richter’s newest bodies of work and archives a historical moment in the artist’s career. Full-color plates and installation views showcase a selection of the artist’s final works on canvas—made just before he announced his retirement from oil painting in 2017—alongside an expansive suite of new drawings made with ink, graphite, and colored pencil on paper, a remarkable series of chromatic inkjet prints titled mood, and a stunning glass sculpture that debuted at the exhibition in New York. A newly commissioned essay by Dieter Schwarz, one of the foremost experts on Richter’s oeuvre, illustrates the artist’s path toward his newest bodies of work. Schwarz describes Richter in his studio, revealing the creative process behind his iconic practice.

For fans of Iggy Peck, Architect and the Little People, BIG DREAMS series, this is the first children’s art book to spotlight the fascinating world of lithography—exploring the techniques that make it work, and revealing the secrets behind this truly artistic profession.Combining science, art, and history, Meet the Lithographer showcases a centuries-old printing practice that evolved into the process used to print books, magazines, newspapers, and posters today. This enchanting behind-the-scenes tour of the lithographer’s workshop offers an inside look at the tools, techniques, and stories that define lithography. The second children’s book from David Zwirner Books, Meet the Lithographer continues our mission to help explain different elements of the art industry. The playful illustrations, printed in three striking colors, offer a unique experience of the printed medium and showcase the magic of the lithographer’s world.

Tiona Nekkia McClodden considers the presence and absence of the Black figure and aesthetic tropes of representation through work traversing film, installation, sculpture, painting, and writing.“An artist who may be America’s most essential today.” —Siddhartha Mitter, The New York Times Known for her sharp examinations of biomythography and intersubjectivity, McClodden uses a research-based approach in her practice as an artist and self-described “historian and cultural custodian.” MASK / CONCEAL / CARRY dissects the many meanings of “masking,” “concealing,'' and “carrying.” McClodden creates films, paintings, and sculptures referencing cultural and historical objects including firearms, Benin Bronzes, and BDSM gimp masks. This exhibition pivots around the concept of “training to failure,” which proposes building muscle by pushing one’s body beyond its corporeal limits, to the point of temporary muscular breakdown. McClodden communicates a core awareness of the body as it corresponds to the fragile boundaries of the psyche and the spectrum of pain and pleasure that is revealed in these recurrent efforts.Through custom lighting, the artist carefully choreographs a performance between the work, space, and viewer. Adding to McClodden’s narrative and psychological concepts, this publication includes a curators note from Ebony L. Haynes, a poem by acclaimed writer and artist Rhea Dillon, and a conversation between poet Simone White and the artist.

This catalogue showcases a multigenerational group of African artists varied in their backgrounds, thematic concerns, and formal strategies and offers a starting point for critical engagement with the history of painting in East Africa.Mwili, Akili Na Roho: Ten Figurative Painters from East Africa features the work of ten artists from Kenya, Uganda, and Tanzania, including Sam Ntiro, Elimo Njau, Asaph Ng’ethe Macua, Jak Katarikawe, Theresa Musoke, Sane Wadu, Peter Mulindwa, Chelenge van Rampelberg, John Njenga, and Meek Gichugu. The personal histories, thematic concerns, and formal strategies of this multigenerational group of artists present an opportunity to engage more deeply in the genealogies of artistic creation in the region, while considering the enduring influence of certain ideas and institutions in the creation, dissemination, and reception of art in and from East Africa. This catalogue is published to coincide with an expanded version of Mwili, Akili Na Roho at the Nairobi Contemporary Art Institute in 2022, following earlier iterations at Haus Der Kunst in Munich (2020) and the Royal Academy of Arts in London (2021). About NCAI  Nairobi Contemporary Art Institute (NCAI) is a nonprofit visual-arts space dedicated to the growth and preservation of contemporary art in East Africa. Established in 2020, NCAI builds on a rich legacy of art projects and institutions in the region, and seeks to tell the stories of the artists and projects that have come to shape the region’s contemporary art scene. Through exhibitions, the development of an East African art archive, an extensive public program of talks, and a multidisciplinary educational program, NCAI serves as an inspiring cultural space and a resource for the thriving East African arts community.

A studious view of Richard Serra’s recently premiered forged steel sculpture and new drawings using his trademark paintstick technique“Enigmatic, arresting, audacious: Richard Serra now and forever” —The Brooklyn Rail Richard Serra’s hugely successful body of work consistently explores the possibilities of form and matter. Serra’s steel sculptures are held in major collections internationally, and his drawings assert themselves as abstract victories. Through the use of black paintstick—a combination of oil paint, wax, and pigment to which he has been faithful since 1971—Serra’s drawings convey a strong sense of optical weight, acutely similar to the physical presence of his sculptures. 2022, the artist’s largest single forged round to date, investigates properties of weight and scale. While the exhibition allowed viewers to encounter Serra’s immense forged round and inky drawings in relation to their own space and bodies, the catalogue is a venue for intimate engagement with Serra’s works through stunning reproductions

The first retrospective monograph on one of Kenya’s foremost living artistsI Hope So: Sane Wadu follows the expansion and development of Wadu’s conceptual preoccupations, beginning with an early interest in bucolic scenes of pastoral life which has evolved into incisive social commentary, a complex exploration of the intersection of faith and politics, and an ongoing critique of societal contradictions. An illuminating essay by Mukami Kuria and an interview with Rosie Olang’ Odhiambo offer readers multiple entry points into Wadu’s penetrating vision. This catalogue is published on the occasion of Sane Wadu’s first retrospective exhibition at the Nairobi Contemporary Art Institute in 2022. About NCAI Nairobi Contemporary Art Institute (NCAI) is a nonprofit visual-arts space dedicated to the growth and preservation of contemporary art in East Africa. Established in 2020, NCAI builds on a rich legacy of art projects and institutions in the region, and seeks to tell the stories of the artists and projects that have come to shape the region’s contemporary art scene. Through exhibitions, the development of an East African art archive, an extensive public program of talks, and a multidisciplinary educational program, NCAI serves as an inspiring cultural space and a resource for the thriving East African arts community.

An exciting, unexpected, and beautiful encounter with one collector’s deeply personal assemblage of worksSince the 1980s, Mickey Cartin has assembled a remarkable collection of objects and art—Renaissance and modernist paintings, master prints, sculptures, illuminated manuscripts, and more. Exploring the theory behind collecting art and how Cartin’s approach to collecting diverges from common practices, this publication offers a unique perspective on an intimate practice. Unconcerned with hewing to specific categories, time periods, or media, Cartin’s collection—which includes the likes of Josef Albers, Sol Lewitt, and Forrest Bess—creates active combinations and disrupts homogeneity, privileging the drive of curiosity. A documentation of the celebrated exhibition Seen in the Mirror: Things from the Cartin Collection at David Zwirner, New York, in 2021, this catalogue includes additional artworks from Cartin’s trove along with views of his home, conveying how he lives with these various types of work. Cartin selected each work in the exhibition and catalogue as a reflection of his deep connections with the many artists represented therein. The conversation between Cartin and David Leiber illuminates the tensions between study and instinct, reading versus experiencing, as well as the influences and figures that inform his personal, curatorial practice. With an introduction by the curator of the Cartin Collection, Steven Holmes, and a text from the art historian Luke Syson, this inspiring volume is a spirited investigation of a very different method of and approach to collecting. About the Cartin Collection The Cartin Collection includes nearly 2,000 works in various media including early Netherlandish painting, fifteenth- and sixteenth-century illuminated manuscripts, incunabula, nineteenth-century paintings and drawings, and an extensive collection of twentieth- and twenty-first-century art. In 2005, the Cartin Collection began to produce exhibitions in partnership with museums, alternative spaces, and galleries in New York, Boston, Miami, and Hartford, as well as in Paris and Berlin. The collection continues to loan extensively across all fields, periods, and media.

Shio Kusaka’s ceramic vessels articulate poetic connections, creating a cohesive and unique installation.“It’s a striking effect—some pieces are bowl-shaped, others are cylindrical, a few have slim, sloping necks. Their linear arrangement suggests some kind of progression through time and space.” —Document Journal While pulling inspiration and techniques from ancient Japanese ceramics as well as from popular culture and everyday life, Kusaka carves new language into her artwork. Employing various types of clay and firing methods, she experiments with line, color, and size to bring fresh life to the medium. This harmonious presentation is created from individual pieces and thematic groupings—similar in their materiality, hue, and display—resulting in an extraordinary, unified installation to be experienced in the round. With many detail images, this book provides a deep dive into Kusaka’s incredible work one light year. Published after Kusaka’s hugely successful exhibition at David Zwirner, New York, in 2022, this catalogue studies her singular installation from all angles.

The third title in the Clarion series features the Amsterdam-based artist Nora Turato and her vibrant enamel panels that magnify the omnipresence of text, design, and speech in our contemporary culture.“Meticulous as Helen and tricky as Odysseus, the artist invites us first to misread the slick surfaces and humor of her works as effortless, then forces us to attend to the laborious practices they belie, the histories and possibilities of that effort.” —Art in America Originally trained as a graphic designer, Nora Turato adapts text to subvert and create messages. Although many of Turato’s performances and works appear to be drafted by free association, she meticulously and thoughtfully edits them to evoke a sense of alluring confusion. In three signature murals with a bespoke typeface, Turato addresses the inundation of language, typography, and graphic design in our contemporary culture, whether in the news, on social media, or in advertisements. Published on the occasion of Turato’s widely popular exhibition govern me harder at 52 Walker, this publication features texts by Ebony L. Haynes and Anna Kats. Serving as an extension of the exhibition, performance scripts by the artist are also included in this publication. As described in The Brooklyn Rail, “In the slick sea of graphic smoothness and language lost from meaning, something has still been irrefutably made.”

A stunning, focused document of Nate Lowman‿s work from the past four years. ---------- "Brewing the good, the bad, and the ugly of consumerist modern life in his masterful paintings, Lowman draws a portrait of the times that is equally mischievous and somber." - BOMB Magazine ----------- With an archive of source material amassed and processed over time, Lowman creates slippery, layered images that transform visual referents found in the news, media, and art history. In this volume, Lowman plays with cataclysmic imagery that probes the tensions between the everyday and the extreme, presence and absence, and violence and representation. In his vibrant paintings of digitally rendered hurricane imagery and crime scene photography cataloging the aftermath of the October 2017 mass shooting in Las Vegas, he considers the physicality of his medium in connection to the chaos of his subject matter. Spotlighting Lowman‿s exhibitions at David Zwirner in London and New York along with other recent work, this monograph includes a text by Lynne Tillman that provides a unique perspective across all bodies of Lowman‿s oeuvre. In an interview with Andrew Paul Woolbright for The Brooklyn Rail, Lowman discusses his engagement with representation and meaning, twentieth-century gestural and pop art, slow painting, and American violence.

A comprehensive look into the fascinating life and enduring legacy of Juan Muñoz and his enigmatic installations“Walking between these figures feels like an interruption; being a spectator is itself a performance. They seem to know more than we do, about the status of being an artwork and the place of the viewer. The joke, if there is one, is on us.” —The Guardian Muñoz’s revolutionary oeuvre evokes emotional narratives through sculpture, installation, drawing, writing, and sound. Situating viewers between his work and among one another, he creates an intimacy between art and its audience. Muñoz thought deeply about art history and, in particular, the tradition of Spanish painting. Before his untimely death at the age of forty-eight, he produced an extensive, powerfully evocative body of work that uniquely explores the narrative and philosophical possibilities of art. Published on the occasion of the exhibition at David Zwirner, New York, in 2022, this catalogue provides an expansive overview of Muñoz’s career from the 1980s onward. In an accompanying text, the art historian and curator Guillaume Kientz contextualizes Muñoz’s influences within the art-historical canon. The acclaimed writer Siri Hustvedt contributes a thoughtful response to the artist’s iconic Conversation Piece. In an imagined interview between Muñoz and himself, Maurizio Cattelan further propels the artist’s momentum and potential in the time before his death. Also featured is a never-before-published interview between Muñoz and the art historian Michael Brenson that took place in 2000.

Explore Frank Walter’s relationship to Antigua through a range of works and writings that express his intimate connection to Caribbean nature, landscape, and place."Nothing seems to be reworked—it is as if each piece drew or painted itself without being adjusted, revised, or fussed over." —Hyperallergic Influenced by his studies of agriculture and the sugar industry in the former British colony of Antigua as well as in England, Scotland, and West Germany, Walter created work inspired by his thoughts, knowledge, journeys, and surroundings—work that encompassed painting, drawing, writing, sculpture, photography, and sound. His paintings—tender, quiet, and lush—transcend the traditional tourist’s view of island life in favor of perspectives that explore how and why we look at where we are. Published on the occasion of the 2022 exhibition at David Zwirner, this catalogue includes an introduction by the show’s curator Hilton Als. Barbara Paca, the leading expert on Walter, writes a text detailing her personal experience meeting Walter and being in his presence. An essay by Charlie Porter takes readers on a walk as he muses about Walter’s life and the nature depicted in his paintings. Joshua Jelly-Schapiro travels to Antigua to explore the history of the island and Walter’s lasting impact there.

Best known for his iconic print Under the Wave off Kanagawa, also known as the Great Wave, Katsushika Hokusai was a revolutionary printmaker. His mastery of ukiyo-e in the nineteenth century has inspired generations of artists since, and his works exposed the world to the delicate beauty and power of Japanese woodblock technique. In addition to his remarkable artistic output, Hokusai was also a dedicated teacher who sought to pass down his deep understanding of color and painting to practicing artists through immensely detailed written tutorials. Here, for the first time in centuries, are excerpts from his manuals, many available for the first time in English. It is an invaluable insight into the psyche of a true master, and a rare personal account of an artist's life during a fascinating period in Japan's history. Connecting Hokusai's prints from the Edo period to manga, author Ryoko Matsuba foregrounds Hokusai's contributions to Japanese creative expression from the 1800s to today. Also included in this book: Vincent Van Gogh's letter about Hokusai's Great Wave and the contemporary artist Ikeda Manabu's concise observations about Hokusai's lasting influence.

The second title in the Clarion series spotlights the artist Nikita Gale, whose multimedia work applies the lens of material culture to examine the role authority plays in political, social, and economic systems.Immersing the audience in sound and light, Nikita Gale’s END OF SUBJECT subverts understandings of viewership by prompting spectators to question their subjecthood within 52 Walker’s site-specific installation. Creating an aurally and visually rich environment, Gale engages with the architecture of the space, stimulating all senses, and muses on the boundaries of performance art. Considering and fracturing the physical space of the installation, the artist employs abolitionist ideology and institutional critique to simultaneously rupture and rebuild facets of the art institution. With an introduction by Ebony L. Haynes and a suite of poems by Harmony Holiday, this publication considers Gale’s multidisciplinary approach in addressing historical hierarchies of visibility. A text by the esteemed artist Andrea Fraser offers reflections on the various interventions at play during a gathering held in the exhibition. About Clarion The Clarion series of illustrated publications is positioned as an extension of each exhibition at the groundbreaking gallery space 52 Walker, curated by Ebony L. Haynes. The program focuses on showcasing conceptual and research-based artists from a range of backgrounds and at various stages in their careers. The series title is derived from the Clarion Science Fiction and Fantasy Writers’ Workshop, the oldest of its kind, at the University of California, San Diego. Octavia Butler attended this workshop in the 1970s. Butler’s writing has been influential in the conceptual framework of the program and the Clarion series. With a sleek design influenced by encyclopedias, each publication features color reproductions of the works on view, alongside an introduction by Haynes, commissioned essays, artist texts, archival materials, and more.

The first detailed survey of Swedish artist Hilma af Klint’s groundbreaking Tree of Knowledge series “Revelatory and sublime. . . . Her work remains conceptually open enough for viewers to draw their own conclusions, insert their own meaning and feel transported to other glorious worlds.” —The New York Times One of the most inventive artists of the twentieth century, af Klint was a pioneer of abstraction. Her first forays into nonobjective painting preceded the work of Kandinsky and Mondrian and radically mined the fields of science and religion. Deeply interested in spiritualism and philosophy, af Klint developed an iconography that explores esoteric concepts in metaphysics, as demonstrated in Tree of Knowledge. This rarely seen series of works on paper renders orbital, enigmatic forms, visual allegories of unification and separateness, darkness and light, beginning and end, life and death, and spirit and matter. Published on the occasion of the exhibition Hilma af Klint: Tree of Knowledge at David Zwirner, New York, in 2021 and David Zwirner, London, in 2022, this book features a text by the art historian Susan Aberth examining af Klint’s spiritual and theosophical influences. With a conversation between curator Helen Molesworth and the US Poet Laureate Joy Harjo discussing connections between Tree of Knowledge and Native theories, the publication broadens the scope of philosophical interpretations of af Klint''s timeless work. Also included is a newly commissioned essay by the celebrated af Klint scholar Julia Voss, a contribution by the artist Suzan Frecon, and a text by art historian Max Rosenberg that further develops the conversation around why af Klint’s work was not recognized in its time.

A breathtaking selection of Michaël Borremans’s lustrous paintings, this catalogue showcases his technical mastery and creative use of mise-en-scène.Recalling classical painting, both through technical mastery and subject matter, Borremans’s depiction of the surprising and the bizarre, invites a second look. Uncanny scenes of figures onlooking blurred acrobatic displays, hooded subjects in Rembrandt lighting, or solemn portraits of painted faces demonstrate Borremans’s unique vision. In this recent body of work, Borremans continues to draw the viewer in closer with his small scale paintings of mysterious figures in peculiar arenas.