Joy Harjo

Julia Voss

Hilma af Klint

Suzan Frecon

Helen Molesworth

Susan Aberth

Max Rosenberg

The first detailed survey of Swedish artist Hilma af Klint’s groundbreaking Tree of Knowledge series “Revelatory and sublime. . . . Her work remains conceptually open enough for viewers to draw their own conclusions, insert their own meaning and feel transported to other glorious worlds.” —The New York Times One of the most inventive artists of the twentieth century, af Klint was a pioneer of abstraction. Her first forays into nonobjective painting preceded the work of Kandinsky and Mondrian and radically mined the fields of science and religion. Deeply interested in spiritualism and philosophy, af Klint developed an iconography that explores esoteric concepts in metaphysics, as demonstrated in Tree of Knowledge. This rarely seen series of works on paper renders orbital, enigmatic forms, visual allegories of unification and separateness, darkness and light, beginning and end, life and death, and spirit and matter. Published on the occasion of the exhibition Hilma af Klint: Tree of Knowledge at David Zwirner, New York, in 2021 and David Zwirner, London, in 2022, this book features a text by the art historian Susan Aberth examining af Klint’s spiritual and theosophical influences. With a conversation between curator Helen Molesworth and the US Poet Laureate Joy Harjo discussing connections between Tree of Knowledge and Native theories, the publication broadens the scope of philosophical interpretations of af Klint's timeless work. Also included is a newly commissioned essay by the celebrated af Klint scholar Julia Voss, a contribution by the artist Suzan Frecon, and a text by art historian Max Rosenberg that further develops the conversation around why af Klint’s work was not recognized in its time.

Hilma Af Klint: Tree of Knowledge

Elizabeth A. T. Smith

Hilton Als

Charlotte Cotton

Douglas Fogle

Long awaited, the first survey of the work of one of America's foremost contemporary fine art photographers For almost 40 years, Catherine Opie has been documenting with psychological acuity the cultural and geographic identity of contemporary America. This unique artist monograph presents a compelling visual narrative of Opie's work since the early 1980s, pairing images across bodies of work to form a full picture of her artistic vision. With more than 300 beautiful illustrations and made in close collaboration with Opie, the book marks a turning point in the consideration of this artist's work to date.

Catherine Opie

A companion to an exhibition inspired by the work of celebrated American painter and critic Manny Farber, this book explores Farber's concept of "Termite Art," an argument for the vital importance of art drawn from the everyday. "Termite Art," in Farber's definition, is art born of observing and acknowledging the transitory nature of daily life. It is also a key antidote to the widespread problem of "White Elephant" art-- big, swaggering "masterpiece art" self-consciously striving for greatness. In this book, artists, historians, and critics dive deep into art that forgoes such ambition in order to attend to the pleasures and problems of the everyday. The book is anchored by an essay by editor Helen Molesworth and features four contemporary commissioned artists' projects that exemplify "Termite Art," an interview with filmmaker Jean-Pierre Gorin, and a carefully selected collection of historical essays by and about Farber that functions as a reader on the subject.

Manny Farber and Termite Art

One Day at a Time

Ian Alteveer

Mark Grotjahn

The first monograph on one of contemporary art's most exciting, illustrious, and sought-after rising stars Los Angeles-based Jonas Wood creates vivid images, where overlapping textures and interior spaces are rendered with compression and dazzling bright hues. This monograph - the first on the artist's work - brings together his most significant paintings, drawings, watercolors, and collage. In doing so, it offers a unique insight into the vast array of his sources, which include family photographs, vintage magazines, baseball cards, and other people's art, including the ceramic sculptures of his wife and occasional collaborator, Shio Kusaka.

Jonas Wood

Thomas Crow

Benjamin H. D. Buchloh

Well-known art historians from Europe and the Americas discuss the influence of conceptualism on art since the 1970s. Art After Conceptual Art tracks the various legacies of conceptualist practice over the past three decades. This collection of essays by art historians from Europe and the Americas introduces and develops the idea that conceptual art generated several different, and even contradictory, forms of art practice. Some of these contested commonplace assumptions of what art is; others served to buttress those assumptions. The bulk of the volume features newly written and highly innovative essays challenging standard interpretations of the legacy of conceptualism and discussing the influence of conceptualism's varied practices on art since the 1970s. The essays explore topics as diverse as the interrelationships between conceptualism and institutional critique, neoexpressionist painting and conceptualist paradigms, conceptual art's often-ignored complicity with design and commodity culture, the specific forms of identity politics taken up by the reception of conceptual art, and conceptualism's North/South and East/West dynamics. A few texts that continue to be crucial for critical debates within the fields of conceptual and postconceptual art practice, history, and theory have been reprinted in order to convey the vibrant and ongoing discussion on the status of art after conceptual art. Taken together, the essays will inspire an exploration of the relationship between postconceptualist practices and the beginnings of contemporary art. Distributed for the Generali Foundation, Vienna.

Art After Conceptual Art

Helen Molesworth

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