Endre Tót: Gladness and Rain
$25.00
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Printed Matter is pleased to present "Endre Tót: Gladness and Rain," a survey show on the work of Hungarian artist Endre Tót. Curated by Darling Green, the in-person and online exhibition puts on view over 100 items, including artists’ books, printed matter, performance works, and mail art correspondence, with an emphasis on Tót’s print output of the 1970s and 80s which(...)
octobre 2023
Endre Tót: Gladness and Rain
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$25.00
(disponible en magasin)
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Printed Matter is pleased to present "Endre Tót: Gladness and Rain," a survey show on the work of Hungarian artist Endre Tót. Curated by Darling Green, the in-person and online exhibition puts on view over 100 items, including artists’ books, printed matter, performance works, and mail art correspondence, with an emphasis on Tót’s print output of the 1970s and 80s which defied the censorship of Soviet-controlled Hungary with humor and absurdity. This new 24-page risograph-printed and hand-stamped publication includes highlights from the exhibition, an essay by Darling Green and an interview with Tót. The publication contains full size facsimiles of many of Tót’s printed, typed, stamped, and mailed works from the 1970s and 80s.
Yoshitomo Nara
$135.00
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Yoshitomo Nara rose to prominence in the mid-1990s, a star in a generation of avant-garde Japanese artists associated with the neo-Pop ‘Superflat' movement. This book, made in close collaboration with Nara himself, explores more than three decades of his work - and is the first truly authoritative monograph on the artist in more than a decade. Written by art historian(...)
Yoshitomo Nara
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$135.00
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Yoshitomo Nara rose to prominence in the mid-1990s, a star in a generation of avant-garde Japanese artists associated with the neo-Pop ‘Superflat' movement. This book, made in close collaboration with Nara himself, explores more than three decades of his work - and is the first truly authoritative monograph on the artist in more than a decade. Written by art historian Yeewan Koon and featuring texts by Nara himself, it includes his most recent work in painting, drawing, sculpture, and ceramics.
$32.00
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Née en 1911 à Paris, installée à New York depuis 1938 et jusqu'à sa mort en 2010, Louise Bourgeois a créé en plus de 60 ans un univers protéiforme qui, échappant à tous les « -ismes » du XXe siècle, est à la fois ancré dans une expérience personnelle singulière et ouvert sur l'histoire et l'histoire de l'art, exprimant la complexité et la permanence du désir à partir(...)
Louise Bourgeois : Les fleurs
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Née en 1911 à Paris, installée à New York depuis 1938 et jusqu'à sa mort en 2010, Louise Bourgeois a créé en plus de 60 ans un univers protéiforme qui, échappant à tous les « -ismes » du XXe siècle, est à la fois ancré dans une expérience personnelle singulière et ouvert sur l'histoire et l'histoire de l'art, exprimant la complexité et la permanence du désir à partir d'événements récurrents. Son œuvre, marquée par un vif intérêt pour la psychologie, sonde les émotions humaines : l'amour, la dépendance, la sexualité, le rejet, la jalousie et l'abandon.
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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(...)
décembre 2023
Katherine Bernhardt: Why is a mushroom growing in my shower?
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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.
Richard Serra: 2022
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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 used since 1971—Serra’s drawings convey(...)
Richard Serra: 2022
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$80.00
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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 used 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.
$65.00
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Publication made for the occasion of the show at 11 Mansfield Street, London. "Over the last few months, we have immersed ourselves in his archive; to discover new and rediscover familiar pieces; to discuss, and to gain a better understanding of his design and creative process. The focus of our conversations has been on quality; quality of work, life, time, research,(...)
Martino Gamper: Before, after and beyond
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Publication made for the occasion of the show at 11 Mansfield Street, London. "Over the last few months, we have immersed ourselves in his archive; to discover new and rediscover familiar pieces; to discuss, and to gain a better understanding of his design and creative process. The focus of our conversations has been on quality; quality of work, life, time, research, food, family and friends. This focus informed our selection of pieces, and the grouping of themes, to reach the final edit of chairs, tables, 'Chables', cabinets, screens, shelves, mirrors, vases, beds, desks, lights, hooks, books and more. The idea was to fully embrace the journey so far, in order to navigate and prioritise what the future should and can become. " —Sarah Douglas
$82.00
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Andrea Blum (born 1950) is a New York–based artist who has worked at the intersection of art, architecture and design since the 1970s. She has exhibited at a wide range of venues and has built projects in Europe and the United States that include public installations, furniture, exhibition design, libraries and other designs for living. Blum’s work considers the(...)
Andrea Blum: Biota. A discourse between art and architecture from the 1970s to the present
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Andrea Blum (born 1950) is a New York–based artist who has worked at the intersection of art, architecture and design since the 1970s. She has exhibited at a wide range of venues and has built projects in Europe and the United States that include public installations, furniture, exhibition design, libraries and other designs for living. Blum’s work considers the relationship of the sociopolitical world to the private psychological one, zooming in and out of the conditions that organize us as a culture, with a focus on the "down time"—when one eats, reads and is in repose—as the time when the border between private behavior and public etiquette is most evidenced. Accompanying an expansive exhibition of the same name at Hunter College Art Galleries, "Biota" is lavishly illustrated with extensive photography of Blum’s early sculpture, public works, exhibitions, installations and propositions of the past 40 years.
Uriel Orlow: Forest times
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"Forest Times" brings together Uriel Orlow’s "Reading Wood" (Backwards) (2022) and 'Forest Futurism' (2024), where plants emerge as political actors, witnesses to history, and guides for the future. 'Reading Wood' (Backwards) explores human and non-human entanglements, questioning what it means to restitute to the natural world. In 'Forest Futurism', Orlow shifts focus to(...)
Uriel Orlow: Forest times
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"Forest Times" brings together Uriel Orlow’s "Reading Wood" (Backwards) (2022) and 'Forest Futurism' (2024), where plants emerge as political actors, witnesses to history, and guides for the future. 'Reading Wood' (Backwards) explores human and non-human entanglements, questioning what it means to restitute to the natural world. In 'Forest Futurism', Orlow shifts focus to plants’ lives beyond human time, blending film and 3D modeling to connect tree fossils’ deep past with future forest scenarios imagined through the voices of children. Set in South Tyrol, the project bridges local scientific research with global climate challenges, envisioningalternative, more-than-human futures.
The undesirables
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"The undesirables" by Myfanwy Macleod features work drawn from MacLeod’s public art endeavors over the past fifteen years and a newly commissioned text by Lisa Robertson. The publication comprises realized and unrealized projects as well as propositional ideas.
avril 2025
The undesirables
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$50.00
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"The undesirables" by Myfanwy Macleod features work drawn from MacLeod’s public art endeavors over the past fifteen years and a newly commissioned text by Lisa Robertson. The publication comprises realized and unrealized projects as well as propositional ideas.
Amy Sillman: Oh, clock!
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In her painting, American artist Amy Sillman (born 1955) expands the standards of abstraction using material and conceptual interventions in the painting process. She destabilizes purported dichotomies and hierarchizations between figuration and abstraction, intimacy and clumsiness, ability and self-negation, process and completion. Now the serial drawings and paintings(...)
avril 2025
Amy Sillman: Oh, clock!
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$68.00
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In her painting, American artist Amy Sillman (born 1955) expands the standards of abstraction using material and conceptual interventions in the painting process. She destabilizes purported dichotomies and hierarchizations between figuration and abstraction, intimacy and clumsiness, ability and self-negation, process and completion. Now the serial drawings and paintings are multicolored, now monochrome, now they show complex forms, now figures or body parts. And they are always filled with delight in the process. The publication "Amy Sillman: Oh, Clock!" highlights her critical exploration of the history of painting and conveys her complex and sophisticated painterly practice on canvas and beyond.