Songs for Sabotage

Though distinct in their approaches, these artists are connected by their deep engagement with their local context and a critical examination - and embrace - of the sense of internationalism that defines our time. The official catalogue for the 2018 new museum triennial, the new Museum in New York presents its fourth Triennial, a global survey of today's up-and-coming artistsIn 2018, the museum’s signature survey of emerging artists from around the world.

Curated by gary carrion-murayari and alex gartenfeld, this edition of the much-anticipated exhibition - and the fully illustrated catalogue that accompanies it - features work by 26 artists and collectives from 19 countries, exploring a range of artistic practices.

Made in L.A. 2018

Has been bringing together regional artists from every discipline and has been curated by some of the most exciting figures in the art world. Spanning sculpture, and performance, film and video, installation, music, painting, the exhibition is dedicated to giving emerging artists a platform alongside influential artists of an earlier generation.

This volume features texts on each artist's practice, alongside a round table conversation exploring the city's various artistic communities and the latest preoccupations and inspirations driving artists' work today. This book presents work featured in the 2018 edition of Made in L. A. The hammer Museum's biennial exhibition.

Since its inception in 2012, Made in L. A. 2018 is no exception. This sumptuous catalog reveals the enormous diversity among L. A. S artists and what makes the city such a vibrant cultural capital. Published in association with the Hammer Museum.

Trigger: Gender as a Tool and a Weapon

The exhibition features over 40 artists working across a variety of mediums and genres, including film, video, performance, painting and sculpture. Among the artists included are morgan bassichis, paul mpagi sepuya, ektor garcia, Nayland Blake, House of Ladosha, Pauline Boudry/Renate Lorenz, Tschabalala Self, Vaginal Davis, Candice Lin, Christina Quarles, Sable Elyse Smith and Wu Tsang.

Trigger is a vital reminder that identity politics, far from being a failure, is alive, well, as the right and left alike are quick to tell us, and getting on with changing the world. Aruna d’souzathe accompanying catalog for the new museum’s exhibition Trigger: Gender as a Tool and a Weapon investigates gender’s place in contemporary art and culture at a moment of political upheaval and renewed culture wars.

Many embrace explicit pleasure and visual lushness as political strategies, turning to poetic language, and some deliberately reject or complicate overt representation, docufiction and abstraction to affirm ambiguities and reflect shifting physical embodiment.

Like Life: Sculpture, Color, and the Body

Featuring works created in traditional media such as wood and marble as well as the unexpected such as wax, Like Life presents sculpture both conventional and shocking, and blood, mannequins, including effigies, dolls, automata, metal, waxworks, and anatomical models. This groundbreaking volume examines key sculptural works from 13th-century Europe to the global present, revealing new insights into the strategies artists deploy to blur the distinction between art and life.

. Explores how artists from the european renaissance to the global present have used sculpture and color to evoke the presence of the living body  Since the earliest myths of the sculptor Pygmalion bringing a statue to life through desire, artists have explored the boundaries between sculpture and the physical materiality of the body.

Sculpture, kiki smith, which has historically taken the human figure as its subject, is presented here in myriad manifestations created by artists ranging from Donatello and Degas to Picasso, and Jeff Koons. Containing texts by art and cultural historians as well as interviews with contemporary artists, this is a provocative exploration of three-dimensional representations of the human body.


Danh Vo: Take My Breath Away

Significant recurring subjects include the legacy of colonialism and the fraught status of the refugee, as well as the image of the United States in its own collective imagination and in that of the world. Danh vo lives and works in Mexico City and Berlin. Published to accompany the most comprehensive museum survey to date of the Danish artist’s work, this catalog presents for the first time an illuminating overview of Vo’s work from the past 15 years.

Organized around nearly 30 major projects and installations, in which he married and divorced acquaintances in order to add their surnames to his own, the volume ranges from Vo’s early performative works such as Vo Rosasco Rasmussen 2003, to his recent sculptural hybrids of classical and Christian statuary.

Vo’s major solo exhibitions include presentations at museo nacional centro de arte reina sofía, madrid 2015–16; museo jumex, austria 2012; Artists Space, Mexico City 2014–15; Musée d’art Moderne de la Ville de Paris 2013; Kunsthaus Bregenz, New York 2010; Kunsthalle Basel 2009; and Stedelijk Museum, Amsterdam 2008.

He often employs found objects, images and texts to animate personal narratives that refract global political histories. He represented denmark at the 2015 venice biennale and received the 2012 Hugo Boss Prize, for which he developed the project I M U U R 2 at the Guggenheim Museum 2013. A lead essay by katherine brinson probes the artist’s roving, research-based process in which historical study, fortuitous encounters and personal relationships are woven into psychologically potent tableaux.

Danh vo brilliantly dismantles the structures and privileges of belongingDanh Vo’s conceptual, installation-based practice dissects the cultural forces and private desires that shape our experience of the world.

Bruce Nauman: Disappearing Acts

A wide range of authors―curators, architecture and film―focus on topics that have been largely neglected, artists and historians of art, such as the architectural models that posit real or imaginary sites as models for ethical inquiry and mechanisms of control. With a magician’s sleight of hand, nauman’s art makes disappearance visibleAt 76 years old, Bruce Nauman is widely acknowledged as a central figure in contemporary art whose stringent questioning of values such as good and bad remains urgent today.

. The 18 other contributions discuss individual objects or themes that persist throughout the artist’s career, including the first extensive essay on Nauman as a photographer and the first detailed treatment on the role of color in his work. An introductory essay explores Nauman’s many acts of disappearance, withdrawal and deflection as central formal and intellectual concerns.

A narrative exhibition history traces his reception, and features a number of rare or previously unpublished images. Throughout his 50-year career, sound, he has explored how mutable experiences of time, space, movement and language provide an insecure foundation for our understanding of our place in the world.

This richly illustrated catalog offers a comprehensive view of Nauman’s work in all mediums, spanning drawings across the decades; early fiberglass sculptures; sound environments; architecturally scaled, participatory constructions; rhythmically blinking neons; and the most recent 3D video that harks back to one of his earliest performances.


Radical Women: Latin American Art, 1960-1985

Drawing its design and feel from the radical underground pamphlets, catalogs, and posters of the era, this is the first examination of a highly influential period in 20th-century art history. Published in association with the Hammer Museum. This wide ranging volume examines the work of more than 100 female artists with nearly 300 works in the fields of painting, photography, sculpture, performance art, video, and other experimental media.

Amidst the tumult and revolution that characterized the latter half of the 20th century in Latin America and the US, women artists were staking their claim in nearly every field. A series of thematic essays, while other essays address key issues such as feminism, arranged by country, art history, address the cultural and political contexts in which these radical artists worked, and the political body.

This stunning reappraisal offers long overdue recognition to the enormous contribution to the field of contemporary art of women artists in Latin America and those of Latino and Chicano heritage working during a pivotal time in history.

Zoe Leonard: Survey

Breathtaking in scope and bringing together every facet of Leonard's oeuvre, this volume celebrates Leonard's unflinching eye and her intimate art. Published in association with The Museum of Contemporary Art, Los Angeles. Working primarily in photography and sculpture, love, Leonard consistently confronts the realities of change, and loss.

This book brings audiences up to date on Leonard's impressive body of work and accompanies a long-awaited retrospective exhibition. Accompanying a major museum survey of the work of Zoe Leonard, this gorgeous book offers an in-depth look at one of the most influential artists of her generation. From aerial landscapes to the alaskan wilderness, American cities to natural history museums, there are few subjects that Zoe Leonard has not tackled in her 30-year career.

It features images and examinations from every one of Leonard's major series, including her early aerial and museum photographs, her landmark works--Strange Fruit and Analogue--and her most recent works, "In the Wake. Essays in the book range from the critical to the personal, including explorations of sexual politics, immigration, and family.


Adrian Piper: A Synthesis of Intuitions 1965–2016

Strongly inflected by her longstanding involvement with philosophy and yoga, her pioneering investigations into the political, social, psychological and spiritual potential of conceptual art have had an incalculable influence on artists working today. Published in conjunction with the most comprehensive exhibition of her work to date, painting, performance, this catalog presents more than 280 artworks that encompass the full range of Piper’s mediums: works on paper, video, multimedia installation, sound and photo-texts.

She received an aa in fine art from the school of visual arts in 1969, a ba in philosophy with a minor in Medieval and Renaissance Musicology from the City College of New York in 1974 and a PhD in Philosophy from Harvard University in 1981. Adrian piper has consistently produced groundbreaking work that has profoundly shaped the form and content of conceptual art since the 1960s.

Previously unpublished texts by the artist lay out significant events in her personal history and her deeply felt ideas about the relationship between viewer and art object. Piper’s artwork is in the collections of the museum of modern Art, the Centre Pompidou, the Generali Foundation and the Museum of Contemporary Art of Los Angeles, the Metropolitan Museum of Art, among others.

. This publication expands our understanding of the conceptual and post-conceptual art movements and Piper’s pivotal position among her peers and for later generations. Adrian piper born 1948 is a first-generation conceptual artist and analytic philosopher. Essays by curators and scholars examine her extensive research into altered states of consciousness; the introduction of the Mythic Being―her subversive masculine alter-ego; her media and installation works from after 1980, which reveal and challenge stereotypes of race and gender; and the global conditions that illuminate the significance of her art.

Adrian Piper: A Reader

Published for moma’s retrospective exhibition and in collaboration with the artist, this volume presents new critical essays that expand on Piper's practice in ways that have been previously under- or unaddressed. Focused texts by established and emerging scholars assess themes in piper’s work such as the kantian framework that draws on her extensive philosophical studies; her unique contribution to first-generation conceptual art; the turning point in her work, in the early 1970s, from conceptual works to performance; the connection of her work with her yoga practice; her ongoing exposure of and challenge to xenophobia and sexism; and the relation between prevailing interpretations of her work and the viewers who engender them.


Jack Whitten: Odyssey: Sculpture 1963–2017

Du Bois. Whitten began carving wood in the 1960s in order to understand African sculpture, both aesthetically and in terms of his own identity as an African American, and continued developing this practice throughout his life. The catalog includes major new texts from exhibition curators Katy Siegel and Kelly Baum, as well as contributions from philosopher Kwame Anthony Appiah, art historians Richard Shiff and Kellie Jones, a lengthy biographical interview with Whitten by art historian Courtney J.

His paintings range from figurative work addressing civil rights in the 1960s to groundbreaking experimentation with abstraction in the '70s, '80s and '90s to recent work memorializing black historical figures such as James Baldwin and W. E. B. Jack whitten was one of the most important artists of his generation.

For the first time ever, these revelatory works are collected in Odyssey, accompanying a landmark exhibition coorganized by the Baltimore Museum of Art and the Metropolitan Museum of Art. Odyssey features the sculptures made by Whitten over the past 50 years, as well as the Black Monolith series of paintings, and Whitten's own archival photographs documenting his life and process.

Martin and the essay "Why Do I Carve Wood?" by the artist himself. Gorgeously illustrated with hundreds of illustrations and never-before-published photographs, as described by the Washington Post, and a monument to a life and career that, Odyssey is a landmark exploration of one of the most significant artists of the 20th century, "enriched the abstract tradition in Western art with fresh political and spiritual content.