Laura Hoptman Knihy

This book is the first dedicated to David Hammons' early works on paper, specifically his monoprints and collages created between 1968 and 1979. In these pieces, Hammons utilized his body as a drawing tool and printing plate, exploring unconventional image-making techniques. He would grease his body or that of another person with substances like margarine and baby oil, pressing or rolling body parts onto paper, and adding charcoal and powdered pigment. The resulting impressions serve as intimate indexes of faces, skin, and hair, existing between spectral portraits and physical traces. These body prints mark the origin of Hammons' artistic language, which has evolved over his long career, emphasizing the artifacts and subjects of contemporary Black life in the United States. More than fifty years later, these works celebrate the sacredness of objects touched by the Black body while critiquing racial oppression. The highlighted body prints introduce major themes from Hammons' 50-year career, integral to postwar American art history. The book also features a conversation between curator Linda Goode Bryant and artist Senga Nengudi, alongside a photo essay by Bruce W. Talamon, who documented Hammons in his Los Angeles studio in 1974.

The first encompassing publication on the work of the groundbreaking American artist Adam Pendleton

Exploring the extensive oeuvre of a highly prolific and versatile artist, this definitive monograph delves into three decades of innovative work. It highlights the artist's unique contributions and the impact of their diverse artistic expressions, showcasing a rich tapestry of creativity that has captivated audiences. The book serves as a comprehensive resource for understanding the evolution and significance of the artist's career, making it essential for both fans and scholars alike.

Isa Genzken is arguably one of the most important and influential female artists of the past 30 years, yet the breadth of her achievement--which spans sculptures, paintings, photographs, collages, drawings, artist's books, films, installations and public works--is still largely unknown in the United States. Published in conjunction with the first comprehensive retrospective of the artist's epically diverse body of work, this publication encompasses Genzken's work in all media over the past 40 years and is the most complete monograph on the artist available in English. Genzken has been part of the artistic discourse since she began exhibiting in the mid-1970s, but over the last decade a new generation of artists has been inspired by her radical inventiveness. The past ten years have been particularly productive for Genzken, who has created several bodies of work that have redefined assemblage for a new era. The catalogue presents Genzken's career, through essays exploring the unfolding of her practice from 1973 until today, as well as an expansive plate section that provides a chronological overview of all her most important bodies of work and key exhibitions.Born in Germany in 1948, Isa Genzken is one of Germany's most important living artists. In the mid-1970s, as a student at Dusseldorf's renowned Kunstakademie, she created geometric wood sculptures, which gained her early international acclaim (she exhibited these works at Documenta 7 and the Venice Biennale in 1982). Since then, she has made sculptures in plaster, concrete and epoxy resin. Ranging in size from maquettes to monumental, these abstract works are influenced by Minimalism, but are decidedly narrative. Paintings that examine ideas of surface and light, as well as photographs, collages, artist's books and films, followed in the 1990s. From the late 90s on, Genzken began to create increasingly complex sculptural installations.