Yotam Ottolenghi, the New York Times bestselling author of Plenty joins up with Ixta Belfrage to reveal how flavor is created and amplified through more than a hundred innovative, super-delicious, plant-based recipes.
Chock-full of low-effort, high-impact dishes that pack a punch and standout meals for the relaxed cook, Ottolenghi Flavor is a revolutionary approach to vegetable cooking.
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Edited with text by Lowery Stokes Sims. Text by Dennis Carr, Janet L. Comey, Elliot Bostwick Davis, Aiden Faust, Nonie Gadsden, Edmund Barry Gaither, Karen Haas, Erica E. Hirshler, Kelly Hays L'Ecuyer, Taylor L. Poulin, Karen Quinn.
The story of African Americans in the visual arts has closely paralleled their social, political and economic aspirations over the last 400 years. From enslaved craftspersons to contemporary painters, printmakers and sculptors, African American artists have created a wealth of artistic expression that addresses common experiences, such as exclusion from dominant cultural institutions, and confronts questions of identity and community. This generously illustrated volume gathers more than 100 works of art in a variety of media by leading figures from the nineteenth century to the present—among them, Henry Ossawa Tanner, Jacob Lawrence, Romare Bearden, Lois Mailou Jones, Gordon Parks, Wifredo Lam, Kara Walker, Glenn Ligon and Kerry James Marshall—alongside many others who deserve to be better known, including artists from the African diaspora in South America and the Caribbean. Arranged thematically and featuring authoritative texts that provide historical and interpretive context, Common Wealth invites readers to share in a rich outpouring of art that meets shared challenges with individual creative responses.
Published by MFA Publications, 2015 Hardcover, 256 pages with 145 color images Dimensions: 11 x 9 1/2 inches (27.94 x 24.13 cm)

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Common Wealth: Art By African Americans In The Museum Of Fine Arts, Boston

By Patrick Pardo and Robert Dean
Compiling four-hundred-plus unique works of art, this volume traces the shifts and developments in conceptual artist John Baldessari’s work from 1975-86. It covers his photo-based works such as the “Strobe,” “Word Chain,” and “Pathetic Fallacy” series from 1975; the “Violent Space” and the seminal “Concerning Diachronic/Synchronic Time: Above, On, Under (With Mermaid),” from 1976; and the “Blasted Allegories” series from 1977-78, which drew heavily from the artist’s vast collection of photo stills taken from commercial television.
In the 1980s, Baldessari’s art took a different direction, beginning with the expansive “Fugitive Essays” triptychs from 1980 and leading to 1982’s photographic interpretations of Grimm’s Fairy Tales. Building on these themes, Baldessari began producing a body of work that was inspired in part by dreams, psychology, film, and popular culture. Ensuing works were more formal, elaborate, and large-scale. From 1984 to 1986 Baldessari created a number of works that employed his soon-to-be-signature colored discs painted over people’s faces in the photos.
An introductory essay will provide a close reading of selected works and a historical context for understanding Baldessari’s art from this period. A detailed chronology and exhibition history and bibliography are also included. This is the second of a projected four-volume catalogue raisonne.
Published by Yale University Press, 2014 Hardcover, 496 pages Dimensions: 12 x 10 1/2 inches (30.48 x 26.67 cm)

John Baldessari Catalogue Raisonné: Volume Two 1975–1986

Essay by Peter Pakesch
The ceramics by the American artist Liz Larner are multi-layered: their shape and weight are reminiscent of antique tablets, the richness of color of the glazes gives them the effect of a painting, while the often torn and broken surfaces tell of the process of their production. Breaks can also be read as a theme from the titles of the works: caesura as a pause between two halves, subduction based on the pushing of two layers of earth in plate tectonics, calefaction as the heating of added minerals that crystallize or dissolve in the clay, porcelain melt as renewed wear and tear on the already designed material. Above the cracks, however, lie the deeply shimmering surfaces of Larner's precisely nuanced colored glazes.
The book shows this work as part of an exhibition in 2016 at the Max Hetzler Gallery in Berlin. Two strands come together: Larner's personal development, whose conceptual interest led her to ceramics around the turn of the millennium, and the role that the material plays in the history of modernism through artists such as Picasso, Fontana, Asger Jorn and Peter Voulkos.
Published by Holzwarth Publications, 2017 Hardcover, 53 pages, fully illustrated Dimensions: 11 1/2 x 11 inches (29.21 x 27.94 cm)

Liz Larner

Written by Sarah Howgate with contributions by Dawn Ades

This beautifully illustrated book draws together for the first time the work of French artist Claude Cahun (1894–1954) and British contemporary artist Gillian Wearing (b. 1963). Although they were born almost a century apart, their work shares similar themes―gender, identity, masquerade, and performance. In 2015, Sarah Howgate traveled with Wearing to the island of Jersey, in the English Channel, where Cahun lived and worked until her death, and where her archive is housed. In examining Cahun's photographs, Wearing was struck by the remarkable parallels with her own explorations of the self-image through photography. Cahun was a contemporary of André Breton and Man Ray, but her work was rarely exhibited during her lifetime. Wearing, who has exhibited extensively and is a recipient of Britain’s prestigious Turner Prize, was no stranger to Cahun’s work when she made the trip to Jersey―her 2012 self-portrait, Me as Cahun holding a mask of my face , is a reconstruction of Cahun’s iconic Self-portrait , made in 1927. In this book, Howgate examines the work of both artists, investigating how their cultural, historical, political, and personal contexts have affected their interpretations of similar themes. This book features stunning reproductions of more than ninety key works, presented thematically by artistic evolution, performance, masquerade, and memento mori, among others. Also included are new works by Wearing, a revealing interview with her by Howgate, and an illuminating essay on Cahun by writer and curator Dawn Ades.
Published by Princeton University Press, 2017 Hardcover, 176 pages with images throughout Dimensions: 10 x 8 1/2 inches (25.4 x 21.59 cm)

Gillian Wearing And Claude Cahun: Behind The Mask, Another Mask

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Notebooks & Journals

Essays by Anita Hill, Cornelia H. Butler, Sebastian Smee and Mark Bradford
This timely entry in the Contemporary Artists series focuses on Mark Bradford, the Los Angeles-based artist best known for his large-scale abstract paintings that examine the class, race, and gender-based economies that structure urban society. His collages and installations, made of materials scavenged from the streets, have created a unique body of work that still stands as a strong response to the impromptu networks that emerge within a city. In this new title, his life and work are explored as never before.
Published by Phaidon Press, 2018 Softcover, 160 images, illustrated throughout Dimensions: 11 1/2 x 10 inches (29.21 x 25.4 cm)

Mark Bradford

Written by a man many consider to be the best bread baker in the United States: Chad Robertson, co-owner of Tartine Bakery in San Francisco. 100 photographs from years of testing, teaching, and recipe development provide step-by-step inspiration, while additional recipes provide inspiration for using up every delicious morsel.

Ceramic dinnerware handcrafted in Sausalito, CA. Heath Tile and our well-crafted work bags, organizers, and accessories, are made in San Francisco, CA. Handmade furniture, artisanal rugs, wallpaper, and objects for the home, including our collaboration with Artek. Beautifully designed for cooking and dining.

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Text by Thomas Lax, Rodney McMillian, Heidi Zuckerman
This monograph, published on the occasion of the Aspen Art Museum exhibition of Rodney McMillian, showcases a comprehensive survey of the artist's paintings, a section of his practice also encompassing sculpture, installation and performance. Incorporating and challenging the notion of art as social and historical critique, the works, essays and interview in this publication examine issues of race, identity and commerce in contemporary society. The book contains images of almost every painting produced by McMillian since, and including, his graduate thesis exhibition, demonstrating a fuller comprehension of the impetus of his work and an insight into the development of the artist's practice. It also features texts by Thomas Lax and Rodney McMillian as well as an interview between the artist and Heidi Zuckerman.
Published by Aspen Art Museum, 2015 Hardcover, 152 pages with 60 color images Dimensions: 11 x 8 inches (20.32 x 27.94 cm)

Rodney Mcmillian Landscape Paintings

Arboretum Puzzle

Half experimental catalogue and half living curriculum, Mirror/Echo/Tilt is one part of a four-year pedagogical project created by artists Melanie Crean, Shaun Leonardo, and Sable Elyse Smith. The publication documents the artists' examination of the language and gestures used to describe experiences of arrest and incarceration and looks to counter culturally embedded conceptions of criminality.

Published by Pacific, 2019
Hardcover board, spiral bound 178 pages
Dimensions: 8 × 10 ½ inches
Edition of 300

Mirror Echo Tilt

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Essay by curator Klaus Kertess, who considers the many themes the artist draws from, the book includes a poetic contribution by artist Roni Horn and an insightful text by Adam Phillips,a noted psychoanalyst.
In this exhibition and accompanying catalogue, one hundred of the artist’s most important drawings are presented from his major series of works—including “The Cremaster Cycle,” “The Drawing Restraint” series, and most notably “Ancient Evenings,” the body of work that has occupied the artist in the last few years (and is based on Norman Mailer’s ancient Egyptian-inspired novel of the same name). This exhibition and catalogue also represent a unique collaboration between the artist and the august Morgan Library, in which he was invited by the institution to mine their extensive holdings in order to include objects (drawings, manuscripts, etc.) in the installation of his work, to create an interesting framework around the many ideas the artist is exploring.
Published by Skira Rizzoli 2013
Hardcover: 244 pages
Dimensions: 9 11 1/2 inches

Subliming Vessel: The Drawings Of Matthew Barney

By Susanne Gaensheimer, Antonia Hoerschelmann and Udo Kittelmann
Exhibition: MMK Frankfurt am Main
Over the course of a half-century, Sturtevant (1924-2014) developed what is perhaps the most radical oeuvre of her generation. Concerned more with changing mental attitudes than with the reception of her art, she provoked the art world and the individual spectator by repeating the original works of contemporary artists. Astonishingly soon after the "originals" were made, she used them as source and catalyst, her intention being to, as she said, "expand and develop our current notions of aesthetics, probe originality and investigate the relation of origins to originality and open space for new thinking." She is most famous for these repetitions, but her early drawings, particularly the so-called "composite drawings" of the 1960s, also provide important clues for understanding the artist's radical conceptual work. This publication accompanies the first survey of Sturtevant's drawings, a focused exploration of her graphic work from 1964 to 2004.
Published by JRP|Ringier 2015 Hardcover/192 pages/ 8.9" x 6.6"/1.6 lbs
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Elaine Sturtevant: Drawing Double Reversal

Essays by Sally Yard and Carol Mavor and two interviews by Robert Walsh

Patricia Patterson’s work is a symbolic metaphor for life’s ordinary things. Each piece evokes the transitory aspects of life, which normally remain unremarked. Patterson deals with an existence that has no place in history; a conversation, a dream in bed, a dog rolling on a lawn. For Patterson, art equals life and domestic life equals art.

Published by California Center for the Arts, 2011 Softcover, 173 pages illustrated throughout Dimensions: 10 1/2 x 9 1/2 inches (26.67 x 24.13 cm)

Patricia Patterson: Here And There, Back And Forth

Introduction by Jacqueline Francis, Stephen G. Hall. Foreword by David Adjaye. Contribution by Henry Louis Gates Jr.
American sociologist, historian, author, editor and activist W.E.B Du Bois (1868–1963) was the most influential Black civil rights activist of the first half of the 20th century. He was a protagonist in the founding of the National Association for the Advancement of Colored People (NAACP) in 1909, and his 1903 book The Souls of Black Folk remains a classic and a landmark of African American literature.
At the 1900 Paris Exposition the pioneering sociologist and activist W.E.B. Du Bois presented an exhibit representing the progress of African Americans since the abolition of slavery. In striking graphic visualisations and photographs (taken by mostly anonymous photographers) he showed the changing status of a newly emancipated people across America and specifically in Georgia, the state with the largest Black population.
Published by Redstone Press, 2019 Flex cover, 144 pages, 50 color /54 bw Dimensions 9.75 x 12.5 inches

Black Lives 1900: W.e.b. Du Bois At The Paris Exposition

The Andy Warhol Catalogue Raisonné, covers some 15,000 works produced by Warhol between 1948 and 1987. Additionally, there is an incredible array of rarely published source material, including newspaper scraps and movie star publicity stills that inspired Warhol's boundlessly fascinating life and career.
Initiated in 1977 by Thomas Ammann, editors Georg Frei and Neil Printz began primary research for Andy Warhol Catalogue Raisonné in 1993.They have been advised throughout the project by the distinguished curators and art historians Kynaston McShine and Robert Rosenblum. Experts from the Andy Warhol Foundation personally examined Warhol's works and began a thorough review of his archive, which at his death consisted of some 1,500 cardboard boxes, flat files, and trunks filled with source material, memorabilia, correspondence and junk mail.
The editors examined works in museum conservation facilities and discussed them with conservators, submitted works for review by the Andy Warhol Art Authentication Board, and interviewed Warhol's assistants and colleagues to assemble a customized database of works unparalleled in Warhol scholarship. All of their findings are documented in this unprecendented project.
Each annotated catalogue entry includes the works title, date, medium, dimensions and present owner, followed by a record of inscriptions, provenance, exhibitions and literature while related works are linked by general introductory texts that explore historical circumstances, shared themes and studio practices. Supplementary figures to the texts illustrate source materials that Warhol appropriated for his works: newspaper articles and advertisements, soup cans and publicity stills, as well as related drawings, works by other artists, and studio and exhibition views. Volume 1 includes classic and much-prized Warhols such as the Campbell Soup paintings, images of the iconic figures of Marilyn, Liz and Elvis, and early self-portraits.
Hardcover, 512 pages
827 illustrations
10.5 x 2.5 x 12 inches
Phaidon Press

The Andy Warhol Catalogue Raisonné, Volume 1

The first anthology to assemble the writings of the groundbreaking art historian, critic, and curator Marcia Tucker. These influential, hard-to-obtain texts—many of which have never before been published—by Marcia Tucker, founding director of New York’s New Museum, showcase her lifelong commitment to pushing the boundaries of curatorial practice and writing while rethinking inherited structures of power within and outside the museum. The volume brings together the only comprehensive bibliography of Tucker’s writing and highlights her critical attention to art’s relationship to broader culture and politics. The book is divided into three sections: monographic texts on a selection of the visionary artists whom Tucker championed, among them Bruce Nauman, Joan Mitchell, Richard Tuttle, and Andres Serrano; exhibition essays from some of the formative group shows she organized, such as Anti-Illusion: Procedures/Materials (1969) and Bad Girls (1994), which expanded the canons of curating and art history; and other critical works, including lectures, that interrogated museum practice, inequities of the art world, and institutional responsibility. These texts attest to Tucker’s tireless pursuit of questions related to difference, marginalization, access, and ethics, illuminating her significant impact on contemporary art.
Co-published by Getty Research Institute & The New Museum, 2019 Softcover, 288 pages Dimensions: 8 1/2 x 6 1/2 inches (21.59 x 16.51 cm)

Out Of Bounds: The Collected Writings Of Marcia Tucker

This stunning tritone reproduction of a rare Arbus portfolio represents the only selection of photographs chosen by the artist in her lifetime.
Presented in conjunction with the exhibition Real Worlds: Brassaï, Arbus, Goldin at The Museum of Contemporary Art, Los Angeles, March 4 through September 3, 2018.
Publisher: Aperture, 2018 Dimensions: 11 x 14 inches Hardcover enclosed in a slipcase 110 pages 44 tritone and four-color images

Diane Arbus: A Box Of Ten Photographs

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Universal thank you card in eight of the ten most widely spoken languages in the world: French, Mandarin, Russian, Spanish, Arabic, Portuguese, English, and Hindi.
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Cards: Thank You

Author: James Meyer
In this innovative work, James Meyer turns to art criticism, theory, memoir, and fiction to examine the fascination with the sixties and contemporary expressions of these cultural memories across the globe. Meyer draws on a diverse range of cultural objects that reimagine this revolutionary era stretching from the 1950s to the 1970s, including reenactments of civil rights, antiwar, and feminist marches, paintings, sculptures, photographs, novels, and films. Many of these works were created by artists and writers born during the Sixties who were driven to understand a monumental era that they missed. These cases show us that the past becomes significant only in relation to our present, and our remembered history never perfectly replicates time past. This, Meyer argues, is precisely what makes our contemporary attachment to the past so important: it provides us a critical opportunity to examine our own relationship to history, memory, and nostalgia.

Publisher: University of Chicago Press, 2019 Dimensions: 7 x 10 inches Hardcover 302 pages 94 color plates 38 halftones Signed by the author

Art Of Return:  The Sixties & Contemporary Culture

4.25" × 5.5" folded card with hunter green envelope

Natural white cover paper
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Get To Know the Maker: Rifle Paper Co.
Rifle Paper Co. is a stationery and lifestyle brand based in Florida. Founders Anna and Nathan Bond strongly believe life's personal stories and moments are best told through the gift of a handwritten card. Their goods inspire us to share these moments with others.
Sunflower Thank You Card by Rifle Paper Co.

Read Between The Lines® | Modern Stationery + Gift

Read Between The Lines

Sunflower Thank You Card

Edited by David Blamey & Brad Haylock
For those who would seek to influence others, the distribution of ideas is paramount. Similarly, for those holding ambition to secrete knowledge for reasons of authority, or to protect the fruits of intellectual labour for reasons of profit or ethical concern, dissemination is key. Certainly before, but more importantly since, the Gutenberg Bible, the predicament of the power of knowledge has lain not with its generation but with the control of its dispersion. This new volume in the Occasional Table series of critical anthologies focusses attention on the act of distribution as a subject for serious creative consideration and one of great social and economic importance. Contributors from a variety of backgrounds paint a big picture that embraces the actions of the individual along-side the workings of global markets. From the attention-seeking impulse of the poseur to the democratisation of art and knowledge through books, digital networks, pop music and self-organised libraries, and to the question of what can be known and by whom, the urge to disseminate is explored here as an elemental phenomenon of our time.
Published by Open Editions, 2018 Softcover, 252 pages Dimensions: 8 1/2 x 6 1/4 inches (21.59 x 15.87 cm)

Distributed

Contemporary art through the lens of African-American artists: Adrian Piper, David Hammons, Renée Green, Faith Ringgold, Senga Nengudi, Pat Ward Williams, Lorraine O’Grady, Carrie Mae Weems, Lorna Simpson, Fred Wilson, Dany Tisdale, June Clark and Gary Simmons.
In Black is a Color , contemporary art historian and curator Elvan Zabunyan proposes a new approach to contemporary art and its history through the practice of Black American artists from the Harlem Renaissance to today. Combining a historical study with probing critical analysis, Black is a Color depicts an America marked indelibly by its slavery past, out of which Afro-American contemporary artists have been able to build a singular and engaged body of work to protest against the cultural and political consequences of racial discrimination. In chapters covering notions of "Black conscience," the relation of "attitude" to form, and women Afro-American artists, Zabunyan traces the emergence of artistic identity in various forms of representation (painting, sculpture, photography, video and performance). Close readings of the oeuvres of David Hammons, Adrian Piper, and others uncover the place of the body, urban space and memory in the works of Black artists, who are represented with more than 130 images.
Published by Dis Voir, 2006 Softcover, 288 pages with 67 color and 69 black & white images Dimensions: 6 1/2 x 8 1/2 inches (16.51 x 21.59 cm)

Black Is A Color (a History Of Contemporary African American Art)

At Nike, the desire to be the best is a journey, not a destination—better is always temporary.
Phaidon commemorates the company’s influence with Nike: Better is Temporary , a landmark publication that charts Nike’s transformation from rebellious upstart to global phenomenon.
This immersive visual survey offers an unprecedented, behind-the-scenes exploration into Nike's ethos-driven design formula, placing industry-defining innovations and globally recognized products alongside previously unpublished designs, prototypes, insider stories, and more.
Beginning with “Breaking2,” an introduction detailing Nike’s 2017 attempt to facilitate a sub-two-hour marathon, the book lays out in five thematic chapters Nike’s focus on performance, brand expression, collaboration, inclusive design, and sustainability.​
The book's extraordinary design also nods to its contents. The striking cover features overlapping silkscreened layers of Nike’s proprietary Volt yellow and Hyperpunch pink colors overlaying an image of world-champion marathoner Eliud Kipchoge printed in a half-tone dot pattern. The book’s spine, visible through the clear jacket, showcases a series of colored tabs that extend from its interior pages and which are referenced in the book’s bonus chapter, “Crafting Color.”​
Combining 500 color illustrations with stories, insights, knowledge, passion, and history shared by Nike's remarkable team, ​ Nike: Better is Temporary ​will serve as a manual of innovation and inspiration for generations to come.
Hardback 9 × 12 ¼ inches (31 × 23 cm) 320 pages 500 color illustrations Published by Phaidon January 2021

Nike: Better Is Temporary

In Full Flower features more than twenty of the most influential and celebrated floral artists across the United States. Combining traditional techniques with organic forms, unusual pairings, and personal artistic visions, each piece is uniquely crafted and inspiring. Gorgeously photographed by Gemma and Andrew Ingalls, In Full Flower captures the arranging processes and final works, as well as wanderlust-inducing gardens and interiors that exhibit the simple yet luxurious living these artists embody.
STYLE #: BOOK214

In Full Flower

75 sheet die-cut sticky notes. Includes attachable magnets for wall hanging.
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Books & Stationery

Small essay by David Anfam
In materials as diverse as wood, steel, bronze, latex, marble, plaster, resin, hemp, lead, ink, pencil, crayon, woodcut, watercolor and gouache, Louise Bourgeois (1911–2010) investigates every imaginable manifestation of the spiral, from graphic patterns to graphite whorls, wobbly orbits to chiseled vortices, twisted columns to coiling snakes, staircases and pyramids. The cursive blue-paper word drawings also included, in English and French, complement the purely visual works by conveying the spirit of Bourgeois’ writing in extraordinary pictorial forms.
Published by Damiani, 2019 Hardcover with 86 pages with 35 color plates Dimensions: 12 x 9 1/4 inches (30.48 x 23.49 cm)

Louise Bourgeois: Spiral

By M.C Huhne
A look at the glamour of the Jet Age and the graphics that sold it.
Airline Visual Identity 1945-1975 looks at the most imaginative, influential designs of the airlines' commercial art from the “golden age of flying.” It provides an unprecedented, systematic outline of the development of the visual identities of thirteen pioneering airlines, combining research and presentations of hundreds of aviation posters, photos and illustrations. Conceived by some of the world's top creative minds, such as Ivan Chermayeff, Otl Aicher, Massimo Vignelli, Saul Bass, and advertising titan Mary Wells Lawrence, the designs found in the book's case studies also illustrate the shift from traditional methods of corporate design and advertising to comprehensive modern branding programs which took place in the same period. To reproduce all of the images as precisely as possible, a total of seventeen different colors, five different varnishes, and two different methods of foil printing and embossing were used.
Published by Callisto Publishers, 2015 Hardcover, 436 pages, 200g Fedrigoni paper Dimensions: 12 x 2 x 16 inches

Airline Visual Identity 1945-1979

Size A2 (4.25" x 5.5") folded card with peacock blue envelope
Eco-friendly ink printed on luxe heavyweight paper
Kissed with metallic gold foil
Blank interior
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Get to Know the Maker: E. Frances Paper
Frances Paper is a family-owned paper goods company based in Newport, Rhode Island. Launched in 2013 by Emily Roberts and her cousins Ali Flippin and Jenni Laundon, E. Frances Paper was named after the trio’s grandmothers, Elizabeth and Frances.
With characters and words that jump off the page and come to life, the joy in E. Frances designs lies in their whimsy, humor, and simplicity. Each E. Frances card begins as an original watercolor painting, and is then printed in brilliant color on luxe, heavyweight paper in the USA.
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Contributors:  Michael Sanchez, Wade Guyton and Franz Thalmair
This catalogue was published in conjunction of the exhibition under the same name at the Secession in Vienna 2011.
Published by Wiener Secession and Revolver Publishing (2011) Dimensions: 9.2 x 0.4 x 12.2 inches, 78 pages, softcover This catalogue is out of print, fine condition.

Wade Guyton: Drawings For A Small Room

Text by Denis Gielen, Joanna Leroy, Jean-Marc Prévost
Photographer LaToya Ruby Frazier (born 1982) grew up in Braddock, PA, a borough in the American Rust Belt ravaged by the steel-industry crisis that hit the US during the Reagan administration. In this former bastion of the steel industry, the artist was raised in her Afro-American family, whose story she told in The Notion of Family . Her 2016 residency at Grand-Hornu allowed her to pursue her work on postindustrial society in Belgium, turning her camera to the Borinage, a mining region whose intense activity in the 19th century was diminished by a series of crises that led to the closure of the last mine in 1976. Testimonies gathered by Frazier from the former miners and their families have resulted in And from the Coaltips a Tree Will Rise , an extensive collection of portraits, landscapes and still lifes.
Published by Musee des Arts Contemporains au Grand-Hornu, 2017 Softcover, 160 pages with 6 color & 60 black & white images Dimensions: 10 3/4 x 9 3/4 inches (27.30 x 24.76 cm) Text in French and English

Latoya Ruby Frazier: And From The Coaltips A Tree Will Rise

Foreword by Sherri Geldin. Text by Nicole R. Fleetwood, Michael Goodson, Beverly Guy-Sheftall, Antwaun Sargent
Presenting paintings of some of the artist's key models and muses, I Can't See You Without Me illuminates the work of Brooklyn painter Mickalene Thomas (born 1971). Culling from art history and popular culture, Thomas creates scintillating portraits that deconstruct the highly charged connections between sitter, artist and viewer. Whether depicted as classically composed 19th-century odalisques, Afro-adorned vixens of blaxploitation films or as a powerful maternal figure yearning for social mobility, the recurring models in Thomas' compositions (almost exclusively women of color) convey a spirit of strength and self-confidence. Across this archetypal array, it is both their contradictions and kinships that make the black female body such fertile terrain for the artist's ongoing investigations. By casting herself, her late mother and other formidable women in her life as models, muses and collaborators, Thomas particularizes her distinctive oeuvre of portraiture. Focused yet expansive, the catalog both reasserts and further contextualizes issues of identity, sexuality and agency in Thomas' work that have only become more nuanced and palpable over time.
Published by Wexner Center for the Arts, 2018 Softcover, 128 pages with 40 color images Dimensions: 11 x 8 1/2 inches (27.94 x 21.59 cm)