Böcker utgivna av Distributed Art Publishers

"The exhibition is organized by the National Gallery of Art, Washington; the Museum of Fine Arts, Boston; Tate Modern, London; and the Museum of Fine Arts, Houston"--Copyright page.

"Published in conjunction with the exhibition Yoshitomo Nara at the Los Angeles County Museum of Art, Los Angeles, California (April 5, 2020-January 2, 2022)"--Colophon.

A colossal, panoramic, much-needed appraisal of the visual cultures of Afro-Atlantic territories across six centuriesNamed one of the best books of 2021 by Artforum Afro-Atlantic Histories brings together a selection of more than 400 works and documents by more than 200 artists from the 16th to the 21st centuries that express and analyze the ebbs and flows between Africa, the Americas, the Caribbean and Europe. The book is motivated by the desire and need to draw parallels, frictions and dialogues around the visual cultures of Afro-Atlantic territories--their experiences, creations, worshiping and philosophy. The so-called Black Atlantic, to use the term coined by Paul Gilroy, is geography lacking precise borders, a fluid field where African experiences invade and occupy other nations, territories and cultures.The plural and polyphonic quality of "histórias" is also of note; unlike the English "histories," the word in Portuguese carries a double meaning that encompasses both fiction and nonfiction, personal, political, economic and cultural, as well as mythological narratives.The book features more than 400 works from Africa, the Americas and the Caribbean, as well as Europe, from the 16th to the 21st century. These are organized in eight thematic groupings: Maps and Margins; Emancipations; Everyday Lives; Rites and Rhythms; Routes and Trances; Portraits; Afro Atlantic Modernisms; Resistances and Activism.Artists include: Nina Chanel Abney, Emma Amos, Benny Andrews, Emanoel Araujo, Maria Auxiliadora, Romare Bearden, John Biggers, Paul Cézanne, Victoria Santa Cruz, Beauford Delaney, Aaron Douglas, Melvin Edwards, Ibrahim El-Salahi, Ben Enwonwu, Ellen Gallagher, Theodore Géricault, Barkley Hendricks, William Henry Jones, Loïs Mailou Jones, Titus Kaphar, Wifredo Lam, Norman Lewis, Ibrahim Mahama, Edna Manley, Archibald Motley, Abdias Nascimento, Gilberto de la Nuez, Toyin Ojih Odutola, Dalton Paula, Rosana Paulino, Howardena Pindell, Heitor dos Prazeres, Joshua Reynolds, Faith Ringgold, Gerard Sekoto, Alma Thomas, Hank Willis Thomas, Rubem Valentim, Kara Walker and Lynette Yiadom-Boakye.

The official catalog accompanying the major retrospective at MoCA LA: Henry Taylor creates a grand pageant of contemporary Black life in AmericaSurveying 30 years of Henry Taylor's work in painting, sculpture and installation, this comprehensive monograph celebrates a Los Angeles artist widely appreciated for his unique aesthetic, social vision and freewheeling experimentation. Taylor's portraits and allegorical tableaux-populated by friends, family members, strangers on the street, athletic stars and entertainers-display flashes of familiarity in their seemingly brash compositions, which nonetheless linger in the imagination with uncanny detail. In his paintings on cigarette packs, cereal boxes and other found supports, Taylor brings his primary medium into the realm of common culture. Similarly, the artist's installations often recode the forms and symbolisms of found materials (bleach bottles, push brooms) to play upon art historical tropes and modernism's appropriations of African or African American culture. Taken together, the various strands of Taylor's practice display a deep observation of Black life in America at the turn of the century, while also inviting a humanist fellowship that pushes outward from the particular. Raised in Oxnard, California, Henry Taylor (born 1958) took art classes at Oxnard College in the 1980s and studied under James Jarvaise, who became a mentor. From 1984 through 1995 Henry Taylor worked as a psychiatric technician at Camarillo State Mental Hospital (a facility that is now California State University Channel Islands) while concurrently attending the California Institute of the Arts (CalArts) in Valencia, where he obtained his Bachelor of Fine Art degree in 1995. Taylor has had institutional solo exhibitions at MoMA PS1 and the Studio Museum in Harlem. He lives and works in Los Angeles.

Ralph Gibson's diptych portrayal of Israel, a land at once deeply modern and incredibly ancient The American photographer Ralph Gibson traveled throughout Israel and the surrounding region to create a portrait of a land where the past is vividly part of the present. He contrasts these in two-page spreads in which color and black-and-white images face one another: ancient language in a visual dialogue with contemporary human experience. As architect Moshe Safdie writes in his accompanying text: "This is the promise and paradox of Israel, a new country in an ancient land, modernity next to regression, with abundant and creative energy and cultural output. The high-tech world of invention next to Torah studies. It is still a young country, not even yet past its Centennial. With an optimistic eye, one sees the promise yet to be." For this project, Gibson visited many of the well-known sites of the Holy Land, including the ancient city of Petra in Jordan as well as Masada and the Sea of Galilee flowing into the River Jordan. Sacred Land is a sumptuous study in the aesthetics of time. Ralph Gibson was born in Los Angeles in 1939. In 1956 he enlisted in the navy, where he began studying photography. Since he published his first photobook The Somnambulist in 1970, his work has been the subject of over 40 monographs. His work is widely exhibited and held in public collections around the world, such as the Stedelijk Museum, Amsterdam, and the Museum of Modern Art, New York. He lives and works in New York.

Wonder and wit meet in Templeton's unflinching photographsTangentially Parenthetical is a selection of photographs from Ed Templeton's vast street photography archive--curated, arranged and then rearranged by the man himself. The next chapter to his previous book of photos (Wayward Cognitions, 2014), Tangentially Parenthetical picks up where the latter collection ended. By combining intimate, accidental and unconnected moments into one linear piece of work, he tells hundreds of new stories through the thoughtful arrangement of semi-related yet completely unfastened imagery. "I'm out there shooting photos all the time that don't necessarily fall under any theme other than general life," says Templeton, "which is a lame title for a book." With a wink to the absurd, sandwiched between a cover of patterned parentheses and with an afterword built from his own stream-of-consciousness storytelling, Templeton delivers a visual mountain from an archive of stunning molehills--the images are carefully chosen, shuffled by hand and laid out with the dueling impulses of wonder and wit.Born in 1972 and raised in the suburbs of Orange County, California, Ed Templeton is a painter, photographer and a respected cult figure in the subculture of skateboarding. His work has been exhibited worldwide.

In the 39 letters of this collection, spanning 1942-46, Cage shows himself to be a man falling deeply in love. These letters have been transcribed, chronologically ordered, and in some instances reproduced in facsimile.

In the summer of 1937, Walter Gropius, founder of the Bauhaus and a professor at Harvards new Graduate School of Design, rented a house on Planting Island, near the base of Cape Cod. There, he and his wife, Ise, hosted a festive reunion of Bauhaus masters and students who had recently emigrated from Europe.

"Expanding Architecture" maps the emerging geography of architectural activism-examining evolving notions of socially conscious practice and serving as a guide for designers who are willing to take on the social, economic and environmental challenges we face today. Edited by Bryan Bell, author of "Good Deeds, Good Design."Metropolis Books

A survey for a long-term champion of abstractionAcclaimed American painter Rebecca Morris (born 1969) has long been celebrated for her juxtapositions of thin, matte washes of color with shimmering, metallic impasto. Her first major monograph coincides with a new survey exhibition traveling from the Institute of Contemporary Art, Los Angeles to the Museum of Contemporary Art, Chicago. Teeming with opulently illustrated plates, the volume provides insight into Morris' practice through various vantage points, including texts from longtime collaborators of the artist and new voices alike. Topics include the historiography of color in Morris' paintings as well as art historical contexts for her work. An additional section of the book traces Morris' own photo documentation of her studios over the 21-year period. Today, Morris remains steadfast to an ethos of constant evolution and a rigorous commitment to experimentation in painting. As she wrote in a widely circulated manifesto from 2005: "Abstraction never left, motherfuckers."

The first and only comprehensive volume exploring the artist's best-known and most spectacular seriesThis book presents world-renowned Japanese artist Yayoi Kusama's most famous series, the Infinity Mirror Rooms, and charts its influence on the course of contemporary art for over 50 years. Kusama's rooms are filled with multicolored lights that reflect endlessly. Ranging from peep-show-like chambers to multimedia installations, each of Kusama's kaleidoscopic environments offers the chance to step into an illusion of infinite space. This definitive publication traces these installations and reveals how, over the years, the works have come to symbolize different modalities, from Kusama's "self-obliteration" in the Vietnam War era to her more harmonious aspirations in the present. By examining her early unsettling installations alongside her more recent atmospheres, this publication historicizes her pioneering work amid today's renewed interest in experiential practices. Generously illustrated, this book invites readers to examine the series' impact over the course of the artist's career. Yayoi Kusama (born 1929) has worked not only in sculpture and installation but also painting, performance, video art, fashion, poetry, fiction and other arts. In her early career in Japan, she produced mostly works on paper. With her late-1950s move to New York City, she joined the ranks of the avant-garde, working in soft sculpture and influencing the likes of Warhol and Oldenburg. At this time, she was also involved with happenings and other performance-oriented works and began to deploy her signature dots. Her work fell into relative obscurity after her return to Japan in 1973, but a subsequent revival of interest in the 1980s elevated her work to the canonical status that it still enjoys today.

William Klein's 1966 cult classic send-up of Paris haute couture - Vanity FairBased on the original images and dialogue of William Klein's 1966 film Who Are You, Polly Maggoo?, this fantastic photo-novel tells the adventures of Polly Maggoo, a star model played by Dorothy McGowan (model for Vogue in the 1960s). The plot unfolds across the fashion world of Polly Maggoo; the world of television (based around the character of director Jean Rochefort); and a magical kingdom of operetta whose crown prince (played by Sami Frey) is in love with the young model. Also featuring in this star-studded cast are Alice Sapritch, Delphine Seyrig, Philippe Noiret, Roland Topor and Jacques Seiler. The publication ingeniously translates into book form the zany universe of the film. Klein's masterful framing gives exquisite rhythm to its page composition and flow as we follow the crazy adventures of the extraordinary heroine in a madcap race through the streets and rooftops of Paris, all the way up to a distant palace lost in the snow. Born in New York, William Klein (1926-2022) was a multidisciplinary artist whose practice revolutionized photography, particularly fashion and street photography. His fashion work was the subject of several iconic photobooks, including Life Is Good and Good for You in New York (1957) and Tokyo (1964). In the 1980s, he turned to film projects. His works are held in the collections of the Museum of Modern Art in New York, the National Gallery of Art in Washington, DC, and the Art Institute of Chicago, among others.

A revelatory trove of innovative photo collages, photograms, photographs and photocopies-many never before published-most reproduced at the size DeFeo printed themThis monograph on the legendary and influential artist Jay DeFeo features over 150 photographic works-many never before published-most reproduced at the size the artist printed them. After the completion of her monumental masterpiece The Rose in 1966, DeFeo moved from the heart of artistic activity in San Francisco to a small house in Marin County, California. There she embarked on a focused and rigorous exploration with the camera. For much of the 1970s, she used the camera as a tool to look and think with, creating a wide range of black-and-white photographs she processed in her darkroom. The artist used experimental photographic techniques to produce extraordinary artworks, alongside documentary images of her studio and paintings in process. Her contact sheets, some of which are reproduced here, are often filled with multiple views of one object, revealing the way DeFeo looked and sketched with the lens. In 1972 she wrote: "My interest in photography has always paralleled my expression as a painter."Essays by Hilton Als, Judith Delfiner, Corey Keller, Justine Kurland, Dana Miller and Catherine Wagner survey the rich materiality, sculptural layering and illusionistic devices of DeFeo's playful and enigmatic photographic works, illuminating her astonishing range and daring experimentation with the medium. Jay DeFeo (1929-89) was a Bay Area artist who created an original and provocative body of work, including the iconic painting The Rose (1958-66). In the 1970s and 1980s, DeFeo continued her visionary work in a range of mediums, including works on paper, photography, collage and photocopies. Among many other exhibitions, a retrospective of her work was organized by the Whitney Museum of American Art, New York, and traveled to the San Francisco Museum of Modern Art in 2012.

A bold reappraisal of Land art through the pioneering work of 12 women sculptorsUsing materials such as earth, wind, water, fire, wood, salt, rocks, mirrors and explosives, American artists of the 1960s began to move beyond the white cube gallery space to work directly in the land. With ties to Minimal and Conceptual art, these artists placed less emphasis on the discrete object and turned their attention to the experience of the artwork--however fleeting or permanent that might be--foregrounding natural materials and the site itself to create large-scale works located outside of typical urban art-world circuits.Histories of Land art have long been dominated by men, but Groundswell: Women of Land Art shifts that focus to shed new light on the vast number of earthworks by women artists. While their careers ran parallel to those of their better-known male counterparts, they have received less recognition and representation in museum presentations--until now.This book includes five scholarly essays, as well as a detailed chronology, exhibition checklist and illustrated biographies of exhibition artists. Groundswell is a resource for readers interested in understanding the historical Land art movement and our own relationship to the earth.Artists include: Lita Albuquerque, Alice Aycock, Beverly Buchanan, Agnes Denes, Maren Hassinger, Nancy Holt, Patricia Johanson, Ana Mendieta, Mary Miss, Jody Pinto, Michelle Stuart and Meg Webster.