The first comprehensive monograph on one of today’s most innovative and successful painters – made in close collaboration with the artist Defined by bold brushstrokes, a dynamic use of color and imaginative compositions, the paintings of Dana Schutz are panoramic expanses that offer visions of humanity in all its complex facets. Her deeply subjective approach, untethered from realism, translates into images that seem to exist in a place that transcends time while celebrating the intrinsic qualities of her medium of choice with freedom and intelligence. As the artist herself stated, ‘I’m interested in painting as an affective place where the hierarchies of the world can be rearranged within the space of a painting.’ This first comprehensive monograph on her work was created in close collaboration with the artist and features a number of never-before-seen paintings and drawings.

Frank Frazetta has reigned as the undisputed lord of fantasy art for 50 years, his fame only growing in the 12 years since his death. With his paintings now breaking auction records (Egyptian Queen sold for $ 5.4 million in 2019) he's long overdue for this ultimate monograph. Born to a Sicilian immigrant family in Brooklyn, 1928, Frazetta was a minor league athlete, petty criminal and serial seducer with movie star looks and phenomenal talent. He claimed to only make art when there was nothing better to do - he preferred playing baseball - yet began his professional career in comics at age 16. Strip work led him to the infamous EC Comics, then to oils for Tarzan and Conan pulp covers. Both characters were interpreted by many before him, but as he explained in the 1970s, "I'm very physical minded. In Brooklyn, I knew Conan, I knew guys just like him," and he used this first-hand knowledge of muscle and macho to redefine fantasy heroes as more massive, more menacing, more testosterone-fueled than anything seen before. As counterbalance he created a new breed of women, nude as censorship allowed, with pixie faces and multiparous bodies: thick thighed, heavy buttocked, breasts cantilevered out to there, yet still, with their soft bellies and hints of cellulite, believably real. Add in the action, the creatures, the twilit worlds of haunting shadow and Frazetta's art is addictive as potato chips. This monograph is the biggest and most complete ever produced on the artist, done in collaboration with the Frazetta family and with top collectors.

The first major exhibition and catalog dedicated to the work of groundbreaking painter and filmmaker Mike Henderson. Mike Henderson (b. 1944) is a painter, filmmaker, and professor emeritus at University of California, Davis. Published to accompany his first museum retrospective, this catalog surveys Henderson's paintings and films from 1965 to 1985, which are rooted as much in Francisco Goya's horror of humanity as in Sun Ra's hope for a new Black future. In the work of that time, Henderson depicted scenes of racial violence, heteromasculinity, and abject social conditions with force and unflinching directness. In 1985, a studio fire damaged much of Henderson's output from the previous two decades, obscuring vital ideas about a time of tumult and change, often referred to as a world on fire. Mike Henderson: Before the Fire, 1965-1985 addresses Henderson's multifaceted art of that period, which examined and offered new ideas about Black life in the visual languages of protest, Afrofuturism, and surrealism. Published in association with the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis Exhibition dates: Jan Shrem and Maria Manetti Shrem Museum of Art January 29-June 25, 2023

This surreally lyrical, sexually charged book collects Jimmy DeSana's earlier work, made from 1980 to 1983. For his series Suburban, DeSana staged photos of nude subjects in various evocative poses, entwined with everyday objects and lit with gel-covered tungsten lights. Rather than constructing a space, the "suburban" was a place of examining stereotypes and norms. Of this series, DeSana told Laurie Simmons, his contemporary and longtime roommate, "I don't really think of that work as erotic. I think of the body almost as an object. I attempted to use the body but without the eroticism that some photographers use frequently. I think I de-eroticized a lot of it. Particularly in that period, but that is the way the suburbs are in a sense." Interest in DeSana is at a renewed high: Salon 94 represents his estate and mounted a well-received exhibition in 2012, and art and photography from the early 1980s is enjoying a renaissance across all media. There is a special interest now in queer artists and the legacy of a generation destroyed by AIDS, with regard to contemporary photography and queer culture and Jimmy DeSana: Suburban is an essential contribution to this evolving canon.