A new retrospective of the work of trailblazing artist Barbara Chase-Riboud Barbara Chase-Riboud is a bestselling novelist, an award-winning poet, and a renowned visual artist whose sculpture and drawings are in museum collections around the world. Among her best-known sculptural work is the Malcolm X series of flowing cast bronze forms combined with braided fiber elements. Barbara Chase-Riboud Monumentale traces this pioneering artist's remarkable career from the 1950s to the present, providing the most comprehensive account of her important body of work to date. The book features both celebrated and never-before-seen artworks that highlight Chase-Riboud's groundbreaking contributions to contemporary sculpture. In addition to some forty sculptures, the book presents nearly twenty works on paper, a selection of Chase-Riboud's poetry, and excerpts from an interview with the artist. Exploring the many different aspects of Chase-Riboud's artistic practice, Barbara Chase-Riboud Monumentale provides unprecedented insights into her meditations on form, memory, and monument, while revealing the rich array of inspiration she has drawn from global art history and literature. Published in association with the Pulitzer Arts Foundation Exhibition Schedule Pulitzer Arts Foundation, St. Louis September 16, 2022-February 5, 2023

Yoko Ono: One Woman Show, 1960-1971 examines the beginnings of Ono's extensive career, demonstrating her pioneering role in visual art, performance and music during the 1960s and early 1970s. The exhibition begins in New York in December 1960, where Ono initiated a performance series with La Monte Young in her Chambers Street loft. Over the course of the decade, Ono earned international recognition, staging Cut Piece in Tokyo and Kyoto in 1964, exhibiting at the Indica Gallery in London in 1966, and launching her global War is Over! campaign in 1969. Ono returned to New York in the early 1970s and organized an unsanctioned `one woman show' at The Museum of Modern Art. Over forty years after Ono's unofficial MoMA debut, the Museum will present its first exhibition dedicated exclusively to the artist's work. The publication evaluates the broader cultural context of Ono's early work and features five sections reflecting her geographic locations during this period and the corresponding evolution of her artistic practice. Each chapter includes an introduction written by a guest scholar, artwork descriptions, new interviews with key figures from the time, and a selection of primary documents culled from newspapers, magazines and journals.

New in MoMA’s ‘One on One’ series, this book focuses on Betye Saar’s Black Girl’s Window (1969) and a selection of the artist’s prints from the 1960s and early 1970s .

Betye Saar made Black Girl’s Window in 1969. It is a deeply autobiographical picture that alluded to her African-American heritage along with her interest in mysticism and astrology. The black girl named in the title appears in the lower half of this found window frame. The girl’s facial features are hidden. The only thing there are these surprisingly bright blue eyes, which appear to open and close if you shift back and forth in front of it. The work encourages us to think about connections between eyes, that are often said to be windows on the soul, and pictures, that have been said to be windows on the world. Saar herself once said that she considers windows to represent a means of traveling from one level of consciousness to another. If you continue to look at the girl, you can see that her hands are covered with yellow and red symbols. Some of these same symbols, in particular the crescent moon and the stars, are echoed in the nine small vignettes created in the spaces outlined by the intersecting crossbars of her found window frame.

Part of JRP]Ringer's innovative "Documents" series, published with Les Presses du Reel and dedicated to critical writings, this publication comprises a unique collection of interviews by Hans Ulrich Obrist mapping the development of the curatorial field--from early independent curators in the 1960s and 70s and the experimental institutional programs developed in Europe and the U.S. through the inception of Documenta and the various biennales and fairs--with pioneering curators Anne D'Harnoncourt, Werner Hoffman, Jean Leering, Franz Meyer, Seth Siegelaub, Walter Zanini, Johannes Cladders, Lucy Lippard, Walter Hopps, Pontus Hulten and Harald Szeemann. Speaking of Szeemann on the occasion of this legendary curator's death in 2005, critic Aaron Schuster summed up, "the image we have of the curator today: the curator-as-artist, a roaming, freelance designer of exhibitions, or in his own witty formulation, a 'spiritual guest worker'... If artists since Marcel Duchamp have affirmed selection and arrangement as legitimate artistic strategies, was it not simply a matter of time before curatorial practice--itself defined by selection and arrangement--would come to be seen as an art that operates on the field of art itself?"

In June 2012, Jasper Johns encountered a photograph of the painter Lucian Freud reproduced in a Christie's auction catalogue. Inspired not only by the photographic image, but also by the physical qualities of the object itself, Johns took this motif through a succession of cross-medium permutations. He also incorporated into his art the text of a rubber stamp he had made several years ago, to allow him to efficiently decline the myriad requests and invitations that come his way: 'Regrets/Jasper Johns'. But the stamp's text also calls to mind the more familiar connotations of regret, such as loss, disappointment, and remorse, invoking an enigmatic sense of melancholy. Published in conjunction with an exhibition of this recent series of paintings, drawings and prints, created over the last year and a half through an intricate combination of techniques, this publication presents each of the sixteen new works in full colour. An essay by Ann Temkin, Chief Curator of Painting and Sculpture, and Christophe Cherix, Chief Curator of Drawings and Prints, MoMA, examine the importance of process and experimentation, the cycle of dead ends and fresh starts, and the incessant interplay of materials, meaning, and representation so characteristic of Johns's career over the last sixty years.

Paul Klee (1879-1940) was an extraordinary draftsman, printmaker, teacher and theoretician with a singular style whose work greatly impacted the development of twentieth-century art. Klee's prints demonstrate, more fully than his works in any other medium, his remarkable evolution from a traditionalist to one of the most daring innovators of modern art. This limited-edition facsimile of "The Prints of Paul Klee," originally published by The Museum of Modern Art, New York in 1947, presents 40 of Klee's etchings and lithographs from MoMA's collection, ranging in date from 1903 to 1931 and each printed on a separate sheet of stiff card, eight of which are in color. Accompanied by a 40-page booklet featuring an essay by James Thrall Soby (then Chairman of the museum's Department of Painting and Sculpture), and a new text by Christophe Cherix, MoMA's Chief Curator of Prints and Illustrated Books, the prints are encased in a cloth-covered and ribbon-bound box. This unique and luxurious portfolio is being reissued for the first time since its original publication, and is available in a limited edition of 2,000 numbered copies.

Over the past two decades, the art world has broadened its geographic reach and opened itself to new continents, allowing for a significant crosspollination of post-conceptual strategies and vernacular modes. Printed materials, both in innovative and traditional forms, have played a key role in this exchange of ideas and sources. This catalogue, published in conjunction with an exhibition at The Museum of Modern Art, New York, examines the evolution of artistic practices related to prints, from the resurgence of ancient printmaking techniques - often used alongside digital technologies - to the worldwide proliferation of self-published artists' books and ephemera. Print/Out features focused sections on ten artists and publishers, including Ai Weiwei, Ellen Gallagher, Martin Kippenberger, Lucy McKenzie, Museum in Progress, Superflex and Rirkrit Tiravanija, as well as rich illustrations of additional printed projects from the last twenty years by major artists such as Trisha Donnelly, Felix Gonzalez-Torres, Thomas Schu tte, and Kelley Walker. An introductory essay by Christophe Cherix, Chief Curator of Prints and Illustrated Books at MoMA, offers an overview of this period with particular attention to new directions and strategies within an expanded field of printmaking.