Limited edition box set of 26 volumes published on the occassion of Andrea Rosen Gallery's 25 year anniversary, comprising 25 exhibition catalogues highlighting significant, curated group exhibitions, as well as a comprehensive index illustrating the gallery's complete exhibition history.
Exhibition catalogues include:
David Dupuis, Carl Ostendarp, Rudolf Stingel (1990)
Stendhal Syndrome: The Cure (1991)
Work? Work in Progress? Work? (1990-91)
7 Women and 7 Women 7 Years Later (1991/1999)
Four Projects by Collectors (1993-94)
Jake and Dinos Chapman, Georgina Starr, Wolfgang Tillmans (1994)
In Full View (2003)
An Abstract Expressionist Eye (2003)
Felix Gonzalez-Torres and Joseph Kosuth / Felix Gonzalez-Torres and Roni Horn / Felix Gonzalez-Torres and Agnes Martin / Robert Gober Felix Gonzalez-Torres (2005-09)
This is a Science Fiction Show (2005)
Looking at Words: One Hundred Years of the Formal Use of Text in Modern and Contemporary Works on Paper (2005)
John Chamberlain, Bruce Nauman (2006)
Robert Mangold, Richard Prince (2007)
1950s-1960s Kinetic Abstraction (2007)
90° The Margin as Center (2007)
Willem de Kooning, Lucio Fontana, Eva Hesse (2008)
Karla Black, Nate Lowman (2010)
Amnesia: Felix Gonzalez-Torres, On Kawara and A Film and Video Program (2010)
Sterling Ruby, Lucio Fontana (2011)
The Wedding (The Walker Evans Polaroid Project) with Roni Horn (2011)
Hans Bellmer, John Currin, Marcel Duchamp, Llyn Foulkes, Robert Heinecken, Tetsumi Kudo, Richard Prince, Alina Szapocznikow, Hannah Wilke (2012)
Cellblock I and Cellblock II (2012)
Jacob Kassay, Olivier Mosset, Lawrence Weiner (2013)
Counter Forms (2013)
Martha Rosler, Borna Sammak, Michael St. John (2014)
Index: 25 Years of Andrea Rosen Gallery (2015)
Editors: Isabel Venero and Amy Ontiveros
4.5 x 6.5 in / 1944 pages
Publisher: ARG Publishing
ISBN: 978-1-942933-26-7 (Full Set)
Out of print
Carl Andre (born 1935) was a poet before he was an artist, and between 1960 and 1965 he produced a substantial body of innovative visual poetry. Arranging language on paper as carefully and as sculpturally as he was later to arrange pieces of metal or bricks on the floor, Andre approached words as adjustable entities, to be moved around within the limits of the space of the sheet of paper. These works, made during the height of the international Concrete poetry movement, appeared alongside his sculptures in exhibitions and were excerpted in scholarly writings about the artist. With this volume, Andre’s influential poetic oeuvre is now gathered comprehensively for the first time. The poems, which were often typed on 8 x 11 paper, are reproduced in quasi-facsimile, to convey Andre’s sculptural intentions. Also included are essays by art historians Gavin Delahunty and Valérie Mavridorakis, and curator Lynn Kost.
Exhibition catalogue published by Museum zu Allerheiligen Schaffhausen and JRP|Ringier, on the occassion of “Carl Andre: Poems 1958-1969,”
(May 15 - August 17, 2014)
Hardcover, 11 x 10.75 in. / 144 pgs / 100 color / 50 bw.
Tate Publishing, London and The Carl Andre and Melissa L. Kretschmer Foundation are working together to create a complete catalogue of the poems of Carl Andre (American, born September 16 1935). The publication will record and illustrate some 1,500 poems made by the artist between 1957 and 2000. Each work will be accompanied by detailed information about its origin, provenance, exhibition history, and a bibliography, in addition to extensive supporting material.
While there have been numerous catalogues on Andre’s work since the 1960s, this will be the first comprehensive catalogue of the artist’s poetry. The Complete Poems will provide an indispensable resource for poets, artists, scholars, art institutions, and others interested in the artist’s oeuvre.
For More information on the project, please visit:
Rotor Reflector Review, 1967
Drawing on paper
© Carl Andre/VAGA, New York and DACS, London 2002
Published by Dia Art Foundation on the occassion of the exhibition "Carl Andre: Sculpture as Place, 1958 - 2010," the first major retrospective of Andre’s work in the United States since the late 1970s. The book will offer original essays by co-curators Philippe Vergne and Yasmil Raymond and contributions by internationally respected authors and scholars such as art historians Arnauld Pierre, Alistair Rider, Anne Rorimer, Phyllis Tuchman and Mika Yoshitake; poetry scholar Marjorie Perloff; curators Christophe Cherix and Manuel Cirauqui; classicist Brooke Holmes; and poet Vincent Katz. Co-edited by Michelle Piranio and Jeremy Sigler, the publication will also include a comprehensive exhibition history, bibliography and chronology. The book’s designer is the award-winning Purtill Family Business.
Hardcover: 400 pages
Publisher: Yale University Press (May 27, 2014)
For more information on the exhibition and publication:
Just as Carl Andre's sculptures are "cuts" of elemental materials, his writings are condensed expressions, "cuts" of language that emphasize the part rather than the whole. Some texts are statements, many of them fifty words or less, written for catalog entries and press releases. Others are Socratic dialogues, interwoven statements, or in the form of questionnaires and interviews. Still others are letters -- public and private, lengthy missives and postcards. Some are epigrams and maxims (for example, on Damian Hirst: I DON'T FEAR HIS SHARK. I FEAR HIS FORMALDEHYDE) and some are planar poems, words and letters arranged and rearranged into different patterns. They are organized alphabetically by subject, under such entries as "Art and Capitalism," "Childhood," "Entropy (After Smithson)," "Matter," "My Work," "Other Artists," and "Poetry," and they include Andre's reflections on Michelangelo and Duchamp, on Stein and Marx, and such contemporaries as Eva Hesse, Robert Smithson, Robert Morris, and Damien Hirst. Carl Andre's writing and its materiality -- its stress on the visual and tactile qualities of language -- takes its place beside his sculpture and its materiality, its revelation of "matter as matter rather than matter as symbol." Both assert the ethical and political primacy of matter in a culture that prizes the replica, the insubstantial, and the virtual. "I am not an idealist as an artist," says Andre. "I try to discover my visions in the conditions of the world. It's the conditions which are important."
Hardcover: 339 pages
Publisher: The MIT Press (May 27, 2005)
Published by the Haags Gemeentemuseum in conjunction with the exhibition 'Carl Andre," August 23 - October 5, 1969. Republished by Daled Brussels in February 1975 with the approval of Carl Andre.
David Altmejd is known for his intricate and highly worked room-size installations and sculptures. Seamlessly moving between a variety of aesthetic modes – from an almost ascetic minimalism in works employing plaster and mirror to works teeming with accumulations of crystals, gold chain, thread, taxidermied birds and animals, among other objects -- Altmejd’s work offers beautifully wrought meditations on the cycles of life and death, interiority and exteriority, sexuality, and spirituality. In the most comprehensive consideration of the artist’s work to date, the volume includes four essays by a range of writers, who by providing different entry points to Altmejd’s art, animate and engage the rich and diverse ideas that characterize his important practice.
The full range of Altmejd’s nearly 20 years of work is featured in the book, from his earliest work--where the vast aesthetic vocabulary he has evolved over the years took shape--to his most recent series. Organized roughly chronologically, with an extensive art historical essay by Robert Hobbs as well as pithy contributions from the other esteemed writers forming the connective tissue between expansive sections of color plates, one can trace the many through-lines that the artist has developed and reworked during his career. The book affords a close and intimate view of the inspired and wholly unique work that brought him to prominence in the early 2000s, while also providing a sense of the breadth and scope of his polymath-like creativity and inventiveness in work less well-known or chronicled.
Edited by Isabel Venero
9.5 x 11.75 inches / 384 pages
Trinie Dalton is a writer of fiction and short stories, as well as being an accomplished art writer. Wide Eyed (Akashic), Sweet Tomb (Madras Press), and A Unicorn Is Born (Abrams) are works of fiction. Dear New Girl or Whatever Your Name Is (McSweeney’s) and Mythtym (Picturebox) are compilations of art writing. She has written articles for venues such as Bookforum, Paper, Purple, Arthur, The Believer, and Bomb. She teaches book/arts and writing at Pratt and NYU, and is on the MFA Fiction faculty at Vermont College of Fine Arts.
Christopher Glazek is a writer living in Los Angeles and the founder of the Yale AIDS Memorial Project. His essays focus on a range of social and cultural issues. Recent work has attended to complex problems such as the incarceration crisis, HIV/AIDS, credentialism, and student debt, in addition to critical writing devoted to art, film, literature, and music. His work has appeared in Artforum, the literary journal N+1, New York Magazine, The London Review of Books, and NewYorker.com, among other publications.
Robert Hobbs is an art historian at Virginia Commonwealth University, where he has held Rhoda Thalhimer Endowed Chair since 1991. He has also been a visiting professor at Yale University since 2004. Recognized as a scholar, teacher, and curator, Hobbs specializes in both late modern and post-modern art. He has published widely and has curated dozens of exhibitions at important institutions in the U.S. and abroad. His publications include monographs on Milton Avery, Alice Aycock, Edward Hopper, Lee Krasner, Mark Lombardi, Robert Smithson, and Kara Walker, and he has also written on Hernan Bas, Keith Haring, Jonathan Lasker, Mark Lindquist, Malcolm Morley, Neo Rauch, Andres Serrano, Yinka Shonibare, James Siena, Meredyth Sparks, and John Wesley.
Kevin McGarry is a writer, editor, and curator. He writes the contemporary art column “Out There” for T: The New York Times Style Magazine, is the art editor for V Magazine, and reviews exhibitions for Art Agenda and Artforum.com. He was the editor of the first monograph on Ryan Trecartin (Skira Rizzoli) and contributed to the major monograph on Yayoi Kusama published in 2012 (Rizzoli). He is a co-programmer of Migrating Forms, an annual festival of artists’ film and video at Anthology Film Archives, and in 2013, was the film curator for MoMA PS 1’s “Expo 1.”
Published by Xavier Hufkens, Brussels, on the occassion of David Altmejd's 2013 exhibtion at the gallery.
2007, 72 p., hardcover
Col. ill., 22 x 28,5 cm
© David Altmejd, Louise Déry and Galerie de l’UQAM
This publication accompanies the exhibition David Altmejd: The Index, organized by the Galerie de l’UQAM and presented in the Canadian Pavilion at the 2007 Venice Biennale. The catalogue includes an essay by Louise Déry about The Index, and The Giant 2. Its title refers to the principle of collection and of the diversity of species, to their classification, their organization into a dynamic avifauna, where an internal equilibrium ensures the perpetuity of the system, which somehow suggests a symbolic architectural modelling of life. This publication won an award in the 2008 Grafika competition.
Français / English / Italiano
2006, 112 p., hardcover
Col. ill., 21,5 x 27 cm
© David Altmejd, Louise Déry and Galerie de l’UQAM
This publication is the first monograph dedicated to David Altmejd. It provides extensive visual documentation, particularly on the work The University 2, exhibited at Andrea Rosen Gallery in 2004 and acquired by the Guggenheim Museum in New York. The essay by Louise Déry surveys ten years of work and examines the major aspects of the artist’s research and of his oeuvre. This book was published to coincide with the travelling exhibition David Altmejd, organized by the Galerie de l’UQAM in 2007 and presented in Montreal (Galerie de l’UQAM), Oakville (Oakville Galleries) and Calgary (Illingworth Kerr Gallery, Alberta College of Art + Design).
Français / English
Published on the occasion of the first museum presentation of Felix Gonzalez-Torres's work in Asia at PLATEAU, and Leeum, Samsung Museum of Art, Seoul, South Korea, June 21 - 28 Sept. 28, 2012
Felix Gonzalez-Torres lived and worked resolutely according to his own idealistic principles, combining elements of Conceptual art, Minimalism, political activism, and poetic beauty in an ever-expanding arsenal of media, including public billboards, give-away piles of candy and posters, and ordinary objects--clocks, mirrors, light fixtures--used to startling effect. His work challenged the notions of public and private space, originality, authorship and--most significantly--the authoritative structures in which he and his viewers functioned. Editor Julie Ault has amassed the first comprehensive monograph to span Gonzalez-Torres's career. In the spirit of his method, she rethinks the very idea of what a monograph should be. The book, which places strong emphasis on the written word, contains newly commissioned texts by Robert Storr and Miwon Kwon, an introduction by Susan Cahill and an extended conversation with fellow artist Tim Rollins, as well as significant critical essays, exhibition statements, transcripts from lectures, personal correspondence, and writings that influenced Gonzalez-Torres and his work. Ample visual documentation adds another important layer of content. We see works not just in their completed state, but often in process, which for Gonzalez-Torres could mean the process of disappearing as viewers interacted with them.
Published on the occasion of the retrospective exhibition at the Serpentine Gallery, London, June 1 – July 16 2000.
Paperback: 88 pages
Publisher: Serpentine Gallery (June 2000)
Catalogue Raisonné in two volumes, published in conjunction with the posthumous 1997 traveling retrospective at Sprengel Museum Hannover, Germany; Kunstmuseum St. Gallen, Switzerland; Museum Moderner Kunst Stiftung Ludwig Wien, Austria.
Hardcover: 296 pages
Publisher: Hatje Cantz Publishers (July 2, 1997)
Originally published to accompany the artist's solo exhibition at the Guggenheim Museum in 1995, and reissued on the occasion of the 2007 Venice Biennale (June 1-November 21), where Felix Gonzalez-Torres would represent the United States.
Written by Nancy Spector in close consultation with the artist and reflecting and expanding upon his ideas at the time, Felix Gonzalez-Torres presents a thematic overview of the artist's rich, many-layered practice, including the signature paper stacks, candy spills, light strings and billboards--and demonstrates his continued resonance today.
Nancy Spector is Chief Curator at the Guggenheim Museum, New York, and U.S. Commissioner to the 2007 Venice Biennale.
Hardcover: 228 pages
Publisher: Guggenheim Museum (May 1, 2007)
Published on the occasion of the traveling exhibition, Felix Gonzalez-Torres at The Museum of Contemporary Art, Los Angeles. April 24 – June 19, 1994. Co-organized by Amanda Cruz, Ann Goldstein and Suzanne Ghez; The Hirshhorn Museum and Sculpture Garden, the Smithsonian Institution, Washington, D.C. June 16 – Sept. 11, 1994.; The Renaissance Society at the University of Chicago, IL., Oct. 2 – 6 Nov. 6, 1994
Paperback: 80 pages
Publisher: Distributed Art Pub Inc (Dap) (June 2, 1994)
In her performances, videos, and installations, Sharon Hayes (b. 1970) explores the nexus between politics, history, speech, and desire. Her works modify or appropriate the language and tools of political dissent, creating unexpected affinities between important historical events and the present. Highlighted in this volume is the video installation Symbionese Liberation Army (SLA) Screeds #13, 16, 20 & 29 (2003)—a work in which Hayes memorized the famous taped speeches by Patty Hearst and her kidnappers, the leftist radical group the Symbionese Liberation Army, and then reads them to an audience who corrects her mistakes. It is in these slippages between memory and history that the meaning of Hayes's work resides. This book also includes a group of new site-specific works that addresses the Whitney's role in the historic development of process-based, performative art and its engagement with politics that took place in the late 1960s and early 1970s.
This book serves as document of Hayes’s thinking process, featuring original contributions from Hayes and some two-dozen other writers, artists, and activists, which provide insight into the motivations and development of her projects. The catalogue includes images carefully selected by the artist—photographs, vinyl LP covers, fliers, images of Hayes’s own work—and a short text response by each of the contributors. Contributors include: Dennis Adams, Lauren Berlant, Saramina Berman, Claire Bishop, Juli Carson, Kabir Carter, Christhian Diaz, Saeed Taji Farouky, Malik Gaines, Andrea Geyer, Leah Gilliam, Michela Griffo, Sharon Hayes, Holly Hughes, Chrissie Iles, Iman Issa, Hans Kuzmich, Cristobal Lehyt, Ralph Lemon, Brooke O’Harra, Jenni Olson, Dean Spade, Lynne Tillman, What, How & For Whom/WHW, Craig Willse.
Publisher: The Whitney Museum of American Art (July 10, 2012)
Paperback: 144 pages
Publisher: Wexner Center for the Arts, The Ohio State University (March 31, 2012)
Elliott Hundley (born 1975) conceives of his exhibitions as theatrical environments--dense narrative landscapes populated by actors. By interspersing his monumental collages with carefully placed sculptural groupings, Hundley creates immersive environments that restage and animate the classical texts that are his sources. These epic installations collapse historical and narrative time, placing equal emphasis on classical mythology, art history and the socio-political conditions of the present. Published for one of Hundley's most significant museum exhibitions to date, this catalogue is the first sustained treatment of the artist's work. Building on Hundley's previous investigations of Euripides' tragedy The Bacchae, it examines the artist's effort to elaborate a critical relationship between classical literary sources and contemporary society. Essays by Christopher Bedford, poet Anne Carson and art historian Richard Meyer explicate the many facets of Hundley's sources and processes.
In My Room is a major new publication surveying the work of artist Friedrich Kunath. It encompasses the last five years of Kunath's practice and is an extension of his unique aesthetic.
Complex and playful installations of paintings, sculptures and videos feature a cornucopia of imagery, brought together from such diverse sources as Old Master paintings, slapstick cartoons, anthropomorphized animals, and pop iconography from the 1960s and 70s.
A narrative around the emotional life of the artist is enacted through fictional characters, producing an in-between world filled with both humour and pathos. The catalogue is designed by Yvonne Quirmbach in close collaboration with the artist. New essays come from Michael Bracewell, Ory Dessau, Claire Le Restif, and Paul Luckraft.
Published on the occasion of the exhibition Friedrich Kunath: Raymond Moody's Blues at Modern Art Oxford, 21 September – 17 November 2013.
Publisher: Walther König, Köln (February 28, 2014)
This is Friedrich Kunath's first artist book published in the United States. In making the book, Kunath collaborated with the musician and poet David Berman and photographer Michael Schmelling.
You Owe Me a Feeling was produced alongside Kunath’s solo exhibition at Blum & Poe, Los Angeles: 2012′s Lacan’s Haircut.
Publisher: Blum & Poe (March 31, 2013)
Published on the occasion of the exhibition Things We Did When We Were Dead at BQ, Berlin, April 28 - June 30, 2012.
Published on the occassion of the artist's first solo exhibition in the UK, at White Cube Hoxton Square, April 15 - June 3, 2011.
Publisher: White Cube (June 2, 2011)
Artist book, published on the occassion of the exhibition I used to be darker, but then I got lighter and then I got dark again, at Kaikai Kiki Gallery, Tokyo, May 13 - June 12, 2010.
In his drawings, texts, objects, photographs, and videos, Friedrich Kunath deals with such themes as longing, melancholy, loneliness, wanderlust, and wistfulness from a subjective viewpoint that finds expression in titles like Homesick, I am a stranger here or I may not always love you. He combines personal life experiences with literary, musical, or art historical references into visual, ironic commentaries in various media. The installative total context of his exhibitions forms narrative contexts between the individual pieces that lead to the viewer to a fantastic world of associations.
This catalogue is published on the occasion of Kunath’s solo exhibition at the Kunstverein Hannover, November 28, 2009–January 24, 2010.
Publisher: Sternberg Press (July 15, 2010)
Artist book: set of 32 color postcards in box. Published on the occasion of the exhibition Hello walls at BQ, Berlin, Sept. 4 - Oct. 31, 2009.
Extracts from "In someone's shadow" by Rod McKuen on verso of postcards.
This is the artist's first monograph, published concurrently with his first solo museum exhibition in the U.S. at the Aspen Art Museum.
Paperback: 200 pages
Publisher: Aspen Art Press (February 1, 2009)
Artist book, published on the occassion of the exhibition Warum, at BQ, Cologne, January 19 - March 10, 2007.
Artist book, published on the occasion of the exhibition Our Endless Numbered Days at BQ, Cologne, 2004.
Artist book, published on the occassion of the exhibition WELCOME HOME STEVE CURRY, at BQ, Colgne, April 27 - June 14, 2002.
Artist book, published on the occasion of the exhibition of the Dirk Bell / Friedrich E. Kunath exhibiton Why are my friends such finks, at BQ, Cologne October 31, 1998 - January 30, 1999.
Catalogue published on the occasion of the exhibition Josiah McElheny Paintings at Andrea Rosen Gallery, September 10–October 24, 2015.
Featuring contributions by Iris Müller-Westermann, Senior Curator of International Art at the Modern Museet in Stockholm, and scholar, writer and curator, Alex Bacon.
6.75 x 8.625 inches / 88 pages
Publisher: ARG Publishing
The first major monograph on MacArthur "Genius Grant" recipient Josiah
McElheny. McElheny is a unique figure among artists of his generation: his
primary medium is glass. Over the last 15 years he has created an
extraordinary body of work exploring the relationship between art, history,
and narrative. Known for his room-size installations of glass sculptures,
the artist’s work is as rich visually as it is conceptually. With
contributions by some of the most important writers and scholars
today (including curator and writer Louise Neri, art critic Dave Hickey,
curator Helen Molesworth, and cosmologist David Weinberg) this is the most
comprehensive consideration of the artist’s work to date.Pub Date: April 20, 2010
Publisher: Skira Rizzoli
Trim Size: 9 x 11 inches / 256 pgs
Paperback: 72 pages
Publisher: The Flag Art Foundation (February 29, 2012)
Hardcover: 114 pages
Publisher: JRP|Ringier (October 31, 2009)
Hardcover: 168 pages
Publisher: Hatje Cantz; Bilingual edition (December 1, 2007)
Language: German, English
Paperback: 48 pages
Publisher: Sternberg Press (September 1, 2006)
Paperback: 48 pages
Publisher: Sternberg Press; Bilingual edition (November 2004)
Language: German, English
Contributions by Christopher Glazek, Bridget Crone, Kenneth Goldsmith, and Ossian Ward. Edited by Paul Luckraft, Maitreyi Maheshwari, and Isabel Venero
The only book devoted to Priority Innfield, the multi-room installation first exhibited at the 2013 Venice Biennale, this volume offers a number of entry-points into an in-depth consideration of Fitch and Trecartin’s practice. Ossian Ward interviews Lizzie Fitch to draw out the finer points of the artists’ collaborative process and discuss the crucial role of materials and objects in the creation of atmospheres and narratives. Bridget Crone considers the bodies that populate the movies, and how they might symbolize the desire to reach for an allusive freedom from ‘swampy’ structures of control. New York–based poet and teacher Kenneth Goldsmith’s draws attention to the connections between Modernist language experiments and Ryan Trecartin as a writer for the digital age. Christopher Glazek’s close knowledge of the Fitch and Trecartin process allows a reflection on the complex way the contents of their art intersects with real world locations and histories, both personal and political.
Edited by Ellen Blumenstein; essays by Ellen Blumenstein and Thomas Miessgang
On the occasion of the debut of Lizzie Fitch / Ryan Trecartin’s sound and video installation Site Visit (2014) at KW Institute for Contemporary Art, this volume features essays by curator Ellen Blumenstein and critic Thomas Miessgang expanding on the work’s themes, structure, and complex sonic composition, as well as an image-based presentation of the exhibition and video.
The six-channel video component of the work was shot in a former Masonic temple in Los Angeles. Inspired by its unusual organization and structure—a five-story warren of large, cavernous rooms akin to a convention center—the movie’s protagonist is the building itself. Echoing the game-like narratives from the movies comprising Priority Innfield (2013), it is the premise-driven context that locates agency and meaning in Site Visit.
Starting as a spatial soundscape, Site Visit unfolded over a number of anterior rooms and evolved into a complex installation in the exhibition hall. In this part of the exhibition space, the artists presented a six-channel video on projection screens situated in a way that mirrors the video’s own 5.1 surround sound, engaging the visual, sonic, and physical fields as a combined object.
Hardcover, 10¼ x 13¾ inches, 160 pages
Published by Walther Koenig, Cologne (2015)
Robert Motherwell, who died in 1991, was the youngest member of the first wave of Abstract Expressionists known as the New York School (a phrase he coined), which also included Jackson Pollock, Mark Rothko, Willem de Kooning and Barnett Newman. An articulate writer, Motherwell was pegged early on as the intellectual of the group. Robert Motherwell: Open is the first examination of the painter's Open series, which preoccupied him from 1967 until the last years of his life. Pared down and minimal, these paintings differ greatly from his more dynamic and monumental Elegies series, for which he is perhaps best known. Containing many previously unpublished paintings as well as works in public collections, this monograph--the most comprehensive and best-illustrated book on Motherwell currently in print--introduces a series of texts by critics and art historians John Yau, Robert Hobbs, Matthew Collings, Donald Kuspit, Robert Mattison, Mel Gooding and Saul Ostrow.
Hardcover: 183 pages
Publisher: 21 Publishing Ltd (April 30, 2010)
During a career that lasted half a century, Robert Motherwell created a large and varied body of work, constantly reinventing and refining his signature motifs. He produced some of the most innovative and profound imagery of the 20th century, such as the Elegy to the Spanish Republic, Iberia, Open, and Summertime in Italy series, as well as one of the largest and most inventive oeuvres in collage.
This monumental catalogue raisonné documents 1,209 paintings on canvas and panel, 722 paintings on paper, and 889 collages, providing extensive information about each work. In the first volume, the authors present an overview of Motherwell's career, and discuss key topics including the tension between figuration and abstraction in his work, his role as a spokesperson for modernism, and the changing nature of the critical reception of his work. This volume also contains a richly detailed, illustrated chronology of his life. Exquisitely designed and produced, this catalogue will be the definitive reference on Robert Motherwell's paintings and collages for years to come.
Hardcover: 1712 pages
Publisher: Yale University Press (November 13, 2012)
Paperback: 79 pages
Publisher: Bernard Jacobson Gallery (July 31, 2014)
Hardcover: 144 pages
Publisher: The Guggenheim Museum (October 31, 2014)
Paperback: 72 pages
Published by Bernard Jacobson Gallery (August 31, 2014)
Booklet published on the occasion of the exhibition THE RIVERBED yoko ono at Andrea Rosen Gallery, New York, December 11, 2015 - January 23, 2016 and Galerie Lelong, New York, December 11, 2015 - January 29, 2016.
Forthcoming hardcover catalogue, co-published with Galerie Lelong to be released Fall 2016.
6.75 x 8.625 in / 24 pages
Co-published by ARG Publishing and Galerie Lelong
Published in conjunction with the project Matthew Ritchie: Remanence, an interdisciplinary 18-month artist residency from 2013 to 2014, organized by Jenelle Porter, Mannion Family Senior Curator, with John Andress, Associate Director of Performing Arts, and Gabrielle Wyrick, Associate Director of Education.
Acclaimed in the art world for his room-size installations of paintings, sculpture, and digital projections, Matthew Ritchie’s work investigates architecture and the dynamics of culture. Named by Time magazine in 2001 as one of 100 innovators for the new millennium, his rich work draws from subjects as diverse as ancient myth and medieval alchemy to cutting-edge physics and contemporary politics. This artist-designed book will explore Ritchie’s large-scale artistic "interventions" in buildings designed by Morphosis among others, including the Guggenheim Museum and MIT.
Publisher: Rizzoli (November 25, 2008)
Published by Moderne Kunst Nürnberg
Edited Eva Ebersberger, Daniela Zyman. Preface by Francesca von Habsburg.
Text by Benjamin Aranda, Brandon LaBelle, Helene Furján, Chris Lasch, Tony Myatt, Hans Ulrich Obrist, Matthew Ritchie, Roland Schöny, Mark Wasiuta.
Situated at the interaction of art, architecture, music, mathematics, cosmology and science, Matthew Ritchie's "The Morning Line" is a 33-foot high sound pavilion, constructed in aluminum and conceived in part as a successor to Edgard Varèse and Le Corbusier's pavilion for the 1958 World's Fair, and Fritz Bornemann's Expo '70 Pavilion. Designed in collaboration with New York-based architects Aranda Lasch, the Arup Advanced Geometry Unit and the Music Research Centre of York University, the structure was inspired by the cosmological theories of Paul Steinhardt and Neil Turok, and offered a sonic environment in which newly commissioned works by well-known musicians were performed. This survey of the project includes a book containing Todd Eberle's photographs of the structure, a poster, a newspaper and a red vinyl LP with music by contemporary electronica musicians such as Alexej Borisov, Tommi Grönlund, Petteri Nisunen, Christian Fennesz, Carsten Nicolai, Zsolt Olejnik, Finnbogi Petursson, Franz Pomassl, Terre Thaemlitz and Zavoloka.
Publisher: Moderne Kunst Nürnberg; Box edition (April 30, 2012)
Edited by Eva Ebersberger, Daniela Zyman.
Text by Caroline A. Jones, Peter Weibel, Benjamin Aranda, Chris Lasch, Mark Wasiuta, Bryce Dessner, Florian Hecker, Tony Myatt.
Extensive documentation of the worlds first traveling semasiographic structure; a collaborative environment conceived by Matthew Ritchie and designed with architects Aranda/Lasch, musician Bryce Dessner and scientist Paul Steinhardt.
Publisher: Walther Konig (February 1, 2009)
In 1995, British artist Matthew Ritchie embarked on an extraordinary undertaking: he set out to tell the story of everything, from the Big Bang onward. His tale was to be told in paintings and drawings through a core group of 49 characters drawn from sources as diverse as mythology, quantum physics, alchemy, gambling, biblical tales, and pulp fiction. With Proposition Player, Ritchie's first major solo museum exhibition and accompanying catalogue, his narrative has reached a "climax, collapse, and crisis"--the story has morphed into a game and Ritchie has created a veritable information casino. Accompanying the paintings and drawings for which the artist is internationally known are works in new media, including a 100-foot-long three-dimensional drawing, an interactive craps table with digital animation that invites viewers to roll the dice for the future of the universe, an enormous rubble floor mosaic that invites viewers to walk into the heart of the piece, and a deck of cards featuring Ritchie's cast of characters.
Publisher: Contemporary Arts Museum (January 31, 2004)
Matthew Ritchie: Incomplete Projects 01-07 was originally published from 2000 to 2006 as seven separate volumes to record a diverse group of projects. Institutional acknowledgements and credits accompanied each volume. Half of each print run was preserved to be collected in this final edition.
Awards: Best of Category in Graphic Design, I.D. Magazine, 2007
Hardcover: 224 pages
Publisher: Wild Card Crew, in collaboration with the Museum of Contemporary Art, North Miami; Dallas Museum of Art; Artists Space; MIT; Parkett; Two Palms Press; and Portikus
Catalogue published in conjunction with the exhibition "We Want to See Some Light," July 9 - August 21, 2005, at Portikus im Leinwandhaus, Frankfurt am Main. It is the seventh volume in a multi-part series titled Matthew Ritchie, Incomplete Projects.
Published in conjunction with Two Palms Press, 2004. It is the sixth volume in a multi-part series titled Matthew Ritchie, Incomplete Projects.
Catalogue published in conjunction with the permanent installation Games of Chance and Skill (2002), commissioned by the MIT Perecent for Art Program for the Albert and Barrie Zesiger Sports and Fitness Center on the Massachusetts Institute of Technology campus in Cambridge, Massachusetts. It is the fifth volume in a multi-part series titled Matthew Ritchie, Incomplete Projects.
Catalogue published in conjunction with the Edition for Parkett 61, November 5, 2001:
The Bad Need
adhesive-backed vinyl and acrylic paint
36 x 41 inches (92.08 x 105.41 cm)
Edition of XVIII
Accompanied by a certificate of authenticity in the form of a signed and numbered artist's book.
Catalogue published in conjunction with the Edition for Artists Space:
Sea State One
Four color hand printed, pigminted relief print on Somerset paper.
16 x 32 inches
(40.6 x 81.3 cm)
Edition of 70
Published by Two Palms Press
Accompanied by one copy of the artist's book Sea State One: Incomplete Projects 03, containing manipulated images from The New Place, 2001, commissioned for "010101: Art in Technological Times," by the San Francisco Museum of Modern Art, CA.
Catalogue published for the exhibition "Concentrations 38: Matthew Ritchie," organized by the Dallas Museum of Art, and curated by Suzanne Weaver, January 23 - April 21, 2001. It is the second volume in a multi-part series titled Matthew Ritchie, Incomplete Projects.
Catalogue published for the exhibition "Matthew Ritchie," organized by the Museum of Contemporary Art, North Miami, and curated by Bonnie Clearwater, March 31 - June 25, 2000. It is the first volume in a multi-part series titled Matthew Ritchie, Incomplete Projects.
Behold a stunning world, composed largely of water, where clothing changes people's behavior and time itself can be worn and discarded like cloth. Witness a father who takes his two boys out to sea, in flight from some menace at home, thus launching their adventures in a strange and dangerous territory. Artist Matthew Ritchie's striking images blend scientific diagramming with vivid, colorful renderings of the apocalypse, while writer Ben Marcus's cold prose plumbs the inner workings of two boys caught out at sea with a father whose costumes grow increasingly menacing. In this collaborative work, Ritchie's and Marcus's shared obsessions of mythology, physics and ancient texts have produced a conjunction of text and image in which people themselves are merely costumes for the darker needs that drive them.
Published by Artspace Books
Hardcover, 6.25 x 8.25 in. / 90 pgs / 16 color
Publication date 5/2/2002
Published on the occassion of the exhibition "Mythopoeia: Projects by Matthew Barney, Luca Buvoli and Matthew Ritchie," curated by Jill Snyder. Presented at the Cleveland Center for Contemporary Art, Cleveland, Ohio, February 12 - May 2, 1999.
Published by Basilico Fine Arts, New York, 1998
Published in 1996 by Galerie Météo, Paris, Basilico Fine Arts, New York, and C/O - Atle Gerhardsen, Oslo
Published on the occassion of the exhibition Michael Raedecker: tour, organized by the Sprengel Museum Hannover (March 9 - June 15, 2014) in cooperation with the Wilhelm-Hack-Museum in Ludwigshafen (December 1, 2013 - February 23, 2014).
Publisher: Sprengel Museum Hannover / Wilhelm Hack-Museum
106 pages, 43 illustrations
Published on the occasion of the exhibition:
Galerie Max Hetzler, Berlin, Germany
June 12 - July 17, 2010
Published on the occasion of the exhibition:
Michael Raedecker: line-up
Camden Arts Centre, London
May 1 - June 28, 2009
GemeenteMuseum, The Hague, Netherlands, July 11 - November 1, 2009
Carré d'Art Musée d'Art Contemporain, Nimes, France, January 27 - April 25, 2010
Published on the occasion of the exhibition:
Michael Raedecker: show
Hauser & Wirth Zürich, Zurich, 2005
Published on the occasion of the exhibtion:
Michael Raedecker: forevernevermore
Salzburger Kunstverein, Salzburg, Austria
July 24 - October 3, 2004
Published on the occasion of:
Michael Raedecker: SubUrban
Knoxville Museum of Art, Knoxville, Tennessee
August 20 - December 5, 2004
Published on the occasion of the exhibition:
Michael Raedecker: instinction
Centro Nazionale per le Arti Contemporanee, Rome, Italy, 2002
Museum für GegenwartskunstBasel, Switzerland, 2003
Published on the occasion of the exhibition:
Michael Raedecker: extract
Stedelijk Van Abbemuseum, Eindhoven, 1999
Hardcover: 88 pages
Publisher: Kentucky Museum of Art and Craft (2013)
Published in conjunction with the exhibition at the Kentucky Museum of Art and Craft:
Mounting Toward Zenith /
Descending And Disappearing
February 15–May 5, 2013
This catalogue of Ronay’s oeuvre is produced by the Kentucky Museum of Art and Craft and the University of Louisville Hite Art Institute. Matthew Ronay: The Third Attention includes essays by Dr. John Hale, Director of the Liberal Studies Program at the University of Louisville and Matthew Drutt (M.A. Yale University) Executive Director of the Blouin Cultural Advisory Group.
Hardcover: 116 pages
Publisher: JRP|Ringier/Parasol Unit Foundation (March 1, 2007)
Published on the occasion of the exhibition:
Goin' Down, Down, Down
Parasol Unit, London, United Kingdom
September 13 - November 8, 2006
Upcoming monograph, published by Gregory R. Miller & Co. in association with the Rose Art Museum, on the occassion of Mika Rottenberg's first solo museum exhibition in the United States:
Mika Rottenberg: Bowls Balls Souls Holes
The Rose Art Museum at Brandeis University, Waltham, MA.
February 14 - June 8, 2014
Foreword by Ann Demeester
Texts by Linda Williams, Hsuan L. Hsu, and Efrat Mishori
Interviews by Mika Rottenberg
Published by Gregory R. Miller & Co with de Appel Arts Centre
Published on the occasion of Mika Rottenberg’s retrospective exhibition at de Appel Arts Centre, Amsterdam, this first publication on the acclaimed young artist presents a comprehensive overview of her work to date. It includes extensive sections on all of Rottenberg’s major video installations, culminating with “Squeeze” (2010). Video stills, diagrams, drawings and previously unpublished source material are interwoven with essays investigating the work from political, philosophical and historical perspectives.
Viisit the Project Projects website here for images of the book.
Published by Karma Books.
(September 12, 2013)
Product Dimensions: 11 x 8.5 x 0.9 inches
Drawing on the work of prominent art historians, curators, critics, and collectors, this exhibition catalogue presents the most current research on the work of Alina Szapocznikow.
Born in Kalisz, Poland, in 1926, Szapocznikow studied in Prague and Paris, spent the last decade of her life in France, and created an impressive number of sculptures and drawings that are now defined as post-surrealist and proto-feminist. Recent exhibitions of the artist’s work in Germany and France, along with acquisitions by prominent collections worldwide, have bolstered Szapocznikow’s international reputation and ignited discussion of her significance to twentieth-century art.
Jewish sculptor and proto-feminist Alina Szapocznikow (1926, Kalisz– 1973, Paris) was one of Poland’s outstanding post-WWII artists. Within two decades, she exchanged the language of classical sculpture with an idiosyncratic lexicon of new shapes, unusual materials, processes and themes that held a dialogue with the contemporary art scene and her own biography. Szapocznikow expanded the definition of sculpture in a deconstructive process of trial and error, while casting parts of her own body directly: an indexical imprint that testifies to the body’s deterioration.
This catalogue is published on the occassion of the exhibition Alina Szapocznikow: Body Traces at the Tel Aviv Museum of Art, February 7 - May 31, 2014.
Publisher: Tel Aviv Museum of Art, 2014
Paperback, 159 p., 100 ill., 70 colour, Hebrew/English
A sculptor who began working during the postwar period in a classical figurative style, Alina Szapocznikow radically reconceptualized sculpture as an imprint not only of memory but of her own body. Though her career effectively spanned less than two decades (cut short by the artist’s premature death in 1973 at age 47), Szapocznikow left behind a legacy of provocative objects that evoke Surrealism, Nouveau Réalisme and Pop art. Her tinted polyester casts of body parts, often transformed into everyday objects like lamps or ashtrays; her poured polyurethane forms; and her elaborately constructed sculptures, which at times incorporated photographs, clothing or car parts, all remain as wonderfully idiosyncratic and culturally resonant today as when they were first made. Well-known in Poland, where her work has been highly influential since early in her career, Szapocznikow’s compelling oeuvre is ripe for art-historical reexamination. Alina Szapocznikow: Sculpture Undone, 1955–1972 offers a comprehensive overview of this important artist’s work at a moment when international interest is blossoming. Richly illustrated with over 150 color plates, the catalogue features essays that touch on key aspects of her practice and historical reception, as well as an extensive annotated chronology that provides an in-depth exploration of the intersection of her life and art. Working in one of the most rich and complex periods of the twentieth century, Szapocznikow responded to many of the ideological and artistic developments of her time through artwork that is at once fragmented and transformative, sensual and reflective, playfully realized and politically charged.
Alina Szapocznikow was born in Poland in 1926, and gained critical attention there for her early sculpture of the 1950s. She re-settled permanently in France in 1963, where her continued exploration of new materials such as polyester and polyurethane brought her into dialogue with the contemporary art scene of her time. She continued to push the boundaries of sculptural form and subject matter up until her premature death in 1973.
Paperback: 216 pages
Publisher: The Museum of Modern Art, New York; annotated edition edition (January 16, 2012)
One of the first to use materials such as polyurethane foam and polyester resin, Alina Szapocznikow (1926–1973) is a renowned artist in her native country of Poland, and has been the subject of increased interest in the U.S, following her 2012 touring retrospective. Though she is better known for her sculptures, Szapocznikow’s drawings are equally unique and fascinating. Felt-tip, ballpoint, crayons, ink, watercolor and monotype were her materials of choice in the medium. Forty years after her death, they are now being rediscovered by scholars and museums worldwide. The works showcased in this book reveal the depth of Szapocznikow’s fantasy, the originality of her reflections on the body, as well as highlighting her humor, sexuality and exuberance. These drawings reflect the distinctive style of an artist who can be considered an heir to the Surrealists and a precursor to the Pop movement.
Hardcover: 184 pages
Publisher: Editions Dilecta (September 30, 2013)
Do artists travel away from or towards trauma?
Is trauma encrypted or inscribed in art?
Or can aesthetic practices – after-images – bring about transformation – that does not imply cure or resolution – of the traces – after-affects – of trauma, personal trauma or historical traumas inhabiting the world whose traces artists also process as participants in and sensors for our life-worlds and histories? How does the viewer, coming belatedly or from elsewhere encounter works bearing such traces or seeking forms through which to touch and transform them?
These are some of the questions posed by major feminist art historian and cultural analyst, Griselda Pollock, in her latest installation of the virtual feminist museum. In closely-read case studies, we encounter artworks by Gian Lorenzo Bernini, Ana Mendieta, Louise Bourgeois, Alina Szapocznikow, Anna Maria Maiolino, Vera Frenkel, Sarah Kofman and Chantal Akerman to explore trauma and bereavement, fatal illness, first and second generation Holocaust experience, migration, exile and the encounter with political horror and atrocity. Offering a specifically feminist contribution to trauma studies, and a feminist psychoanalytical contribution to the study of contemporary art, this volume continues the conceptual innovations that have been the hall-mark of Pollock's dedicated exploration of 'feminist interventions in art's histories'.
Griselda Pollock is Professor of Social and Critical Histories of Art and Director of the Centre for Cultural Analysis, Theory and History at the University of Leeds.
Paperback: 384 pages
Publisher: Manchester University Press (October 22, 2013)
For his first artist book—published to coincide with the exhibition The Los Angeles Project at Ullens Center for Contemporary Art, Beijing, in 2014—Trecartin compiled over one hundred composited images he created by mining his personal Instagram and Snapchat feeds, screenshots, and photos, all captured and archived in his phone. While developing several new bodies of work that encompass video, sculpture, and installation (which debuted in Berlin and Los Angeles in late 2014) Trecartin collected images which functioned as both reference material and conceptual pivot points for these expansive group of works. While Yet started with the premise of communicating visually with an audience who does not share the same language or cultural references, it evolved into a creative document of the images and ideas that fuel Trecartin’s artistic process.
Paperback, 6½ x 9 inches, 96 pages
Published by UCCA, Beijing/Walther Koenig, Cologne (2015)
Edited by Kevin McGarry, Foreword by Jeffrey Deitch, Contribution by Lauren Cornell, Kevin McGarry and Linda Norden
“What [Trecartin] has unleashed is larger than himself, which is why both his sudden appearance and continuing evolution are such cause for hope.”—Roberta Smith, New York Times
“The most consequential artist to have emerged since the nineteen-eighties, he is being hailed as the magus of the Internet century.” –Peter Schjeldahl, The New Yorker
Since the debut of his first feature-length video, the 2004 A Family Finds Entertainment, Ryan Trecartin (b. 1981) has been hailed as one of the most exciting artists of his generation. His movies layer the visual and the aural in virtuosic combinations of color, form, drama, and montage to produce a sublime, stream-of-consciousness effect that feels bewilderingly true to life. This volume, the first monograph on Trecartin, includes extended illustrated sections on his seven-part epic Any Ever, 2009–10, as well as I-Be Area, 2007, and A Family Finds Entertainment. A trio of essays by curators Lauren Cornell, Kevin McGarry, and Linda Norden focus on Trecartin’s repurposing of language, his open-source approach to personality and gender, and his extended amplifications of consumer culture. An interview with Trecartin by artist Cindy Sherman provides a revealing glimpse into his collaborative process.
by Lauren Cornell (Author), Ryan Trecartin (Author)
Paperback: 304 pages
Publisher: Skira Rizzoli (March 10, 2015)
"God bless the New Museum’s tantalizing triennial." —Jerry Saltz, New York magazine
The Generational Triennial is a signature initiative of the New Museum, one of the world’s leading institutions devoted to contemporary art. This acclaimed exhibition of work by emerging artists from around the world provides an important platform for a new generation of artists who are shaping the current discourse of contemporary art and the future of culture. Featuring over fifty artists from thirty countries, the exhibition extends to performances and site-specific projects throughout New York to explore how artists are engaging diverse audiences through their work.The accompanying catalog includes artist statements and their biographies, as well as substantive essays by curators Lauren Cornell and Ryan Trecartin, along with contributions by other international art and cultural critics.
Since the turn of the millennium, the Internet has evolved from what was merely a new medium to a true mass medium-with a deeper and wider cultural reach, greater opportunities for distribution and collaboration, and more complex corporate and political realities. Mapping a loosely chronological series of formative arguments, developments, and happenings, Mass Effect provides an essential guide to understanding the dynamic and ongoing relationship between art and new technologies.
Mass Effect brings together nearly forty contributions, including newly commissioned essays and reprints, image portfolios, and transcribed discussion panels and lectures that offer insights and reflections from a wide range of artists, curators, art historians, and bloggers. Among the topics examined are the use of commercial platforms for art practice, what art means in an age of increasing surveillance, and questions surrounding such recent concepts as "postinternet." Other contributions analyze and document particular works by the artists of And/Or Gallery, Cory Arcangel, DIS, Cao Fei, the Radical Software Group, among others, including an essay by Michael Wang on Ryan Trecartin.
Mass Effect relaunches a publication series initiated by the MIT Press and the New Museum in 1984, which produced six defining volumes for the field of contemporary art. These new volumes will build on this historic partnership and reinvigorate the conversation around contemporary culture once again.
MIT Press and the New Museum of Contemporary Art; 2015; Hardcover; 6.75" x 9.5"; 528 pp; 32 color and 99 b&w illustrations; ISBN 9780262029261
The first monograph on an artist whose provocative and ultimately deeply moving work played an essential part in women's transformation of the art world. Hannah Wilke's artwork, like her life, frames a heroic story about formal invention and social activism, personal loyalties and individual freedom, and, above all, breathtaking risk. A defining presence in the emerging community of women artists in the 1960s and 70s, Wilke developed a unique and controversial visual language in response to her own and women s experience. An unapologetic individualist, she celebrated her relationships with men as well as women and frankly explored the pleasures of sexuality. Using a wide range of nontraditional mediums, including latex and chewing gum as well as photography and film, she irreverently paid tribute to predecessors from Marcel Duchamp to David Smith. Focusing on the body as instrument and object of visual expression. Wilke's art is inseparable from Wilke the person: bold, sometimes outrageous, and, ultimately, heartbreakingly courageous.
Hardcover: 168 pages
Publisher: Prestel (May 20, 2010)
The act of folding is the salient gesture in the sculptures of American artist Hannah Wilke (1940-1993). Taking such materials as clay, bubble gum and Play-Doh, Wilke fashioned serial forms that folded inward or opened out with overtly labial sensuousness. Wilke often placed these objects in compromising situations--hinged with pins or glued to walls and boards, placed freely on the floor, always seemingly on the verge of disaster. Today she is famed for her many nude self-portraits, which have threatened to eclipse the sculptural basis of both the portraits themselves and her work in general. By emphasizing folding as a gesture, this catalogue--the first on the artist to appear in many years--unites Wilke's sculpture and photography under the rubric of performance, and the performing of material. With an abundance of color reproductions and critical commentary, Hannah Wilke: Gestures offers a fresh assessment of a pioneer in sculpture, feminist art and performance.
Paperback: 108 pages
Publisher: Neuberger Museum of Art; 1 edition (August 30, 2010)
Published on the occassion of the retrospective exhibition held at Gallery 210,
University of Missouri, St. Louis, April 3 - 28, 1989.
For Hannah Wilke, the point of departure was always the body and its discontinuous relationship with language. In the 1970s, Wilke’s work-particularly the way that she used the body in her artistic practices-was considered controversial by many feminist critics. Today, however, when theoretical and artistic strategies have changed and when art is increasingly cognizant of social context, Wilke’s work has found rightful place among the most important artwork of the past thirty years. This catalogue presents a unique survey of Wilke’s oeuvre, with reproductions of her videos and films four essays focusing on different aspects of her life and work, including a detailed biography, and a selected biography, a complete list of her works and an exhibition checklist.
Hardcover: 168 pages
Publisher: University of Missouri Press (July 31, 1989)
Edited with text by Klaus Biesenbach, Christophe Cherix. Text by Julia Bryan-Wilson, Jon Hendricks, Yoko Ono, Clive Phillpot, David Platzker, Francesca Wilmott, Midori Yoshimoto. Yoko Ono: One Woman Show, 1960- 971 examines the beginnings of Ono's career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s.
Publisher: The Museum of Modern Art, New York (May 26, 2015)
Hardcover, 240 Pages, 5.9 x 0.9 x 8.3 inches