Agnes Martin: On beauty
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"When I think of art I think of beauty. Beauty is the mystery of life," wrote Agnes Martin in 1989. Edited by Milly Glimcher, this handsomely produced volume collects writings by the artist centered around the theme of beauty, as well as a range of subjects related to her life and work, from the workings of nature and politics to the inspiration to be found in solitude(...)
Agnes Martin: On beauty
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$54.00
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"When I think of art I think of beauty. Beauty is the mystery of life," wrote Agnes Martin in 1989. Edited by Milly Glimcher, this handsomely produced volume collects writings by the artist centered around the theme of beauty, as well as a range of subjects related to her life and work, from the workings of nature and politics to the inspiration to be found in solitude and silence. Poetic and reflective, these texts range from compact insights, as with "Underside of the Leaf" and "Awareness of Perfection," to longer meditations, such as "The Current of the River of Life Moves Us" and "The Untroubled Mind." ''On Beauty'' also includes reproductions of paintings such as Blessings (2000) and Tranquillity (2001), among others, while the front and back covers are debossed with reproductions of Affection (2001) and Little Children Playing with Love (2001). By providing a window into the thoughts and feelings that moved her, this title is the perfect companion for anyone who admires Martin's intuitive approach to art. Canadian American artist Agnes Martin (1912–2004) was one of the most influential painters of her generation and left an enduring mark on the history of modern and contemporary art. Characterized by austere lines and grids superimposed upon grounds of muted color, her paintings elegantly negotiate the confines of structure, space, draftsmanship and the metaphysical. Their underlying ideologies can be found in the writings she composed over the course of her career.
Lawrence Weiner: terminal Boundaries and A natural water course diverted reduced or misplaced
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Made in 1969 as an artist's book but never published, "Terminal boundaries" and "A natural water course diverted reduced or displaced" comprises two books in one-- a tête-bêche with two front covers that can be read from either side by turning the book upside down. This facsimile publication contains two related bodies of work from American conceptual artist Lawrence(...)
Lawrence Weiner: terminal Boundaries and A natural water course diverted reduced or misplaced
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Made in 1969 as an artist's book but never published, "Terminal boundaries" and "A natural water course diverted reduced or displaced" comprises two books in one-- a tête-bêche with two front covers that can be read from either side by turning the book upside down. This facsimile publication contains two related bodies of work from American conceptual artist Lawrence Weiner (1942–2012) represented as typewritten statements on paper that Weiner pasted to the pages of a small notebook. Distinct from his contemporaries associated with the Land Art movement, Weiner constructs his landscape interventions in language-the specific and/or general act and the location are stated-offering the reader/viewer the opportunity to consider each work's existence, to build it in their mind's eye.
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Carlos Bunga: Inhabit the Contradiction is an extensive monograph devoted to the work of Carlos Bunga, published in conjunction with his eponymous exhibition presented at CAM – Gulbenkian. The book contains notes by the exhibition curator and catalogue editor, Rui Mateus Amaral, who introduces readers to the exhibition project, providing an in-depth account of its genesis(...)
Carlos Bunga: Inhabit the contradiction
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Carlos Bunga: Inhabit the Contradiction is an extensive monograph devoted to the work of Carlos Bunga, published in conjunction with his eponymous exhibition presented at CAM – Gulbenkian. The book contains notes by the exhibition curator and catalogue editor, Rui Mateus Amaral, who introduces readers to the exhibition project, providing an in-depth account of its genesis and development, focusing on the dialogue between Bunga's work and selected pieces from the CAM collection. The notes describe both Bunga's new and existing works, as well as their configuration within the space, with the intention of opening up multiple points of access to the exhibition, leaving room for individual interpretation. Designed by as ilhas studio, the catalogue also contains new essays by various authors written especially for the occasion—Rina Carvajal, Roland Groenenboom, Omar Kholeif, November Paynter, and Catarina Rosendo—each offering an in-depth look at salient aspects of the artist's multifaceted practice.
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The existing art historical narrative on the early career and development of Donald Judd—a landmark figure in the history of postwar art—focuses predominantly on activities and reception in his homeland. As the artist established his formal and conceptual language and received his first critical and institutional recognition in the United States, remarkably little(...)
Donald Judd: The Low Countries, 1966–1971
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The existing art historical narrative on the early career and development of Donald Judd—a landmark figure in the history of postwar art—focuses predominantly on activities and reception in his homeland. As the artist established his formal and conceptual language and received his first critical and institutional recognition in the United States, remarkably little attention has been paid to what has happened on the other side of the Atlantic. Writing from Antwerp, Belgium and working with a rich array of sources from archives in Belgium and The Netherlands, Wouter Davids discloses that during the early years of his European career, Judd could count on significant critical and institutional interest in the European region better known as the Low Countries. The starting point is an interview with Judd for Belgian Radio and Television (BRT) from 1970, published here for the first time.
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Une vie digne d'un roman. De la Poméranie à Paris, en passant par Weimar, Berlin, Tunis, New York ou Bâle – pour ne nommer que les étapes les plus significatives –, Ré Soupault a traversé tout le XXe siècle et a été une protagoniste majeure de la vie artistique, littéraire et intellectuelle européenne. À Weimar, élève du Bauhaus, elle rencontre Vassily Kandinsky, Paul(...)
janvier 2026
L'esprit avant tout : Du bauhaus au reste du monde, souvenirs
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Une vie digne d'un roman. De la Poméranie à Paris, en passant par Weimar, Berlin, Tunis, New York ou Bâle – pour ne nommer que les étapes les plus significatives –, Ré Soupault a traversé tout le XXe siècle et a été une protagoniste majeure de la vie artistique, littéraire et intellectuelle européenne. À Weimar, élève du Bauhaus, elle rencontre Vassily Kandinsky, Paul Klee et Johannes Itten. À Paris, elle fonde un atelier de mode, expose les bijoux d'Elsa Triolet et ses collections sont photographiées par Man Ray.Tour à tour réalisatrice de films abstraits, journaliste, dessinatrice de mode, photographe, traductrice (notamment les Chants de Maldoror de Lautréamont), journaliste pour la radio, éditrice de contes pour enfants, essayiste, elle n'a eu de cesse de se réinventer. Libre et audacieuse, féministe avant l'heure, bien qu'elle soit restée en retrait, Ré Soupault a parcouru le siècle en mêlant art, engagement et modernité.
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A monographic publication featuring multilingual text-film transcripts engaging with the legacy of the German colonial project in Cameroon and Germany, as well as broader questions of border crossings, asylum, and exclusion.The works collected for this publication span installation, video art, and ciné-poems, emerging from anti-racist movements and debates around(...)
février 2026
Brigitta Kuster: Territoires / Territories / Territorien – Filmtranskripte
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A monographic publication featuring multilingual text-film transcripts engaging with the legacy of the German colonial project in Cameroon and Germany, as well as broader questions of border crossings, asylum, and exclusion.The works collected for this publication span installation, video art, and ciné-poems, emerging from anti-racist movements and debates around disidentification, representation, and institutional critique—through the medium of moving images. A key part of the publication comprises films created in French and German as part of the research project ''Choix d'un passé'', in collaboration with Moïse Merlin Mabouna. These films are accompanied by textual and visual sequences from the video works S. – ''Je suis, je lis à haute voix and Erase them!'' – The image as it is falling apart into looks. The reader series ''Scriptings: Political Scenarios'', edited by Achim Lengerer, publishes carefully selected scripts and texts by artists that refer neither to academic forms nor to purely literary forms of writing, but rather embed "text" as a fully integral part of contemporary political and visual art practice.
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Nathalie Du Pasquier présente des natures mortes rassemblant objets, dessins, livres et photographies, réunis comme les fragments d'un langage intime. Chaque composition, spécialement composée dans son atelier milanais, est accompagnée d'un court texte de l'artiste, dévoilant les histoires et les résonances des éléments choisis. Tel un portrait chinois, le livre compose(...)
Nathalie du Pasquier: So many real things
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Nathalie Du Pasquier présente des natures mortes rassemblant objets, dessins, livres et photographies, réunis comme les fragments d'un langage intime. Chaque composition, spécialement composée dans son atelier milanais, est accompagnée d'un court texte de l'artiste, dévoilant les histoires et les résonances des éléments choisis. Tel un portrait chinois, le livre compose un autoportrait poétique et singulier, invitant le lecteur à entrer dans l'univers sensible de l'artiste.// Specially composed in her Milan studio, Nathalie Du Pasquier presents still lifes bringing together objects, drawings, books, and photographs—assembled like fragments of an intimate language. Each composition is accompanied by a short text by the artist, revealing the stories and resonances of the chosen elements. Like a "Chinese portrait," the book unfolds as a poetic and singular self-portrait, inviting the reader to enter the artist's sensitive universe.
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Mapping constellations between five specific pre-colonial cosmological examples extending from the Sahel to the Horn of Africa, this work reframes cosmology as a multi-dimensional and scalable practice of situated technologies and embodied cartographies. The resulting publication which was produced during the Jan van Eyck residency is a culmination of several years of(...)
The (incomplete) cosmic catalogue
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Mapping constellations between five specific pre-colonial cosmological examples extending from the Sahel to the Horn of Africa, this work reframes cosmology as a multi-dimensional and scalable practice of situated technologies and embodied cartographies. The resulting publication which was produced during the Jan van Eyck residency is a culmination of several years of research and exploration into precolonial cosmologies and spatial orders rooted in the African Sahel extending to the Horn of Africa. The (Incomplete) Cosmic Catalogue is an output of a research project that was initially commissioned by the Canadian Centre for Architecture as part of the multi-disciplinary research fellowship, The Digita Now: Architecture and Intersectionality in 2022.
...E Prini
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This is the first monograph dedicated to one of Italy's most enigmatic and complex artistic figures, Emilio Prini, a key figure of Arte Povera whose work has never been fully surveyed. Structured chronologically from 1966 to 2016, it examines his work via a systematic iconographic and bibliographic analysis of Prini's archives along with the institutions he exhibited at.(...)
...E Prini
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This is the first monograph dedicated to one of Italy's most enigmatic and complex artistic figures, Emilio Prini, a key figure of Arte Povera whose work has never been fully surveyed. Structured chronologically from 1966 to 2016, it examines his work via a systematic iconographic and bibliographic analysis of Prini's archives along with the institutions he exhibited at. As he considered the medium secondary to the concept, no distinction is made between installations, sculptures, invitations, posters, or documents; and by presenting the works first individually and then situated in different contexts, the book provides a unique insight into his particular methodology. Prini also consistently rejected the notion of the artwork as a closed and defined object, interrogating the very framework of the exhibition format.
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This catalogue documents an exhibition of large-scale paintings by Helen Frankenthaler made between 1960 and 1992, opening in spring 2026 at Gagosian’s West 21st Street gallery. Throughout her career, Frankenthaler pushed beyond the boundaries of easel painting to create extraordinary, monumental works, some of which occupied the entire expanse of her studio floor. This(...)
Helen Frankenthaler: The moment and the distance
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This catalogue documents an exhibition of large-scale paintings by Helen Frankenthaler made between 1960 and 1992, opening in spring 2026 at Gagosian’s West 21st Street gallery. Throughout her career, Frankenthaler pushed beyond the boundaries of easel painting to create extraordinary, monumental works, some of which occupied the entire expanse of her studio floor. This exhibition explores the artist’s use of scale across four decades of painting. The title is derived from a 1975 review by poet and critic Barbara Guest, where she remarks on Frankenthaler’s “astonishing combination of freedom with restraint, extravagance with discipline, suggestion and definition,” concluding, “the moment becomes the distance.” The book includes a new essay by art historian Ara H. Merjian that discusses the works in the show in the context of Frankenthaler’s Surrealist and Abstract Expressionist influences.