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

Luisa Lambri's art revolves around the human condition and its relationship with space, touching on areas such as the politics of representation, architecture, the history of abstract photography, modernism, feminism, identity and memory. The title of the exhibition presented at PAC, in Milan, is a tribute to Carla Lonzi who, in 1969, published "Autoritratto", a collection of interviews with avant-garde artists that revealed their private sides. In the same way, Lambri constructs personal and intimate readings of the subjects of her photographs and encourages a dialogue between the observer, the work of art and the space. Light, time and movement play an important role in her work, where slight differences reflect the artist's movement within the space. Lambri uses architecture to create her images, rather than images to document architecture, revealing negligible details of modernist architecture or iconic minimalist sculptures. At PAC, her works relate to the unique qualities of the architecture designed by Ignazio Gardella, for which the exhibition was specifically developed. Text in English and Italian.

During Law's stay at St Ives in the late 1950s, the artist developed a series of Field drawings that reduced elements observed in the surrounding landscape - the sun, trees and clouds - into a set of abstract signs held within a rhomboid frame. The series was, in Law's words, 'about the position of myself on the face of the earth and the environmental conditions around me'. Using a thickly drawn line to contain and delimit the almost-blank pictorial field, Law refined his early abstract language in subsequent monochrome works, from 'open' and 'closed' drawings to the monumental paintings of the Mister Paranoia series. Published to accompany a 2015 exhibition of the same name, this volume draws together over 20 works by leading British minimalist Bob Law (1934-2004), providing a concise overview of the artist's career. This fully illustrated catalogue includes an essay by Douglas Fogle that includes new scholarship on the artist and focuses on his pursuit of the void's poetic possibilities.

"Edmier's work celebrates popular culture's intrusion into our dreams, the way media images insinuate themselves into our unconscious, like uninvited guests."--"Contemporary Magazine"
This unique publication showcases the work of one of America's foremost young sculptors. Each comes with a specially created plastic rose in honor of his work capturing the cultural and emotional significance of flowers. Also included is a loose leaflet showing the installation "Bremen Town," which was part of the comprehensive exhibition "Keith Edmier 1991-2007" at Bard college in New York from October 2007 through February 2008. The installation featured a full-scale reproduction of the interior spaces from the home in which Edmier grew up in Tinley Park, a suburb of Chicago.

Are we alone in the universe? Do aliens exist? Or are we, ourselves, the strangers in our own worlds? Conceived around the title "Life on Mars, " the 2008 Carnegie International, curated by Douglas Fogle, explores the increasingly relevant yet perplexing proposition of what it means to be human in the world today. The question, "Is there life on Mars?" is a rhetorical one, posing a metaphorical quest to explore humanity's response to a world where global events challenge and seem to threaten our everyday existence. Working in a range of media, from micro to macro levels of experience, from tragedy to comedy, the 40 artists from 17 countries in the exhibition explore the alien inside each of us. They include Doug Aitken, Kai Althoff, Vija Celmins, Bruce Conner, Peter Fischli and David Weiss, Daniel Guzman, Mike Kelley, Barry McGee, Wilhelm Sasnal, David Shrigley, Rudolf Stingel, Paul Thek, Wolfgang Tillmans and Andro Wekua, among others. In questioning the absurdity of our lives while demonstrating hopeful aspirations for the future of humankind, these artists foreground the poetic over the monumental and the intimate over the heroic. In the end, the exhibition asks if we ourselves are already on Mars.

This book celebrates two new performance pieces and a recent body of paintings by the artist, drawing on desert landscapes, Road Runner cartoons, and Hollywood Westerns. Bursting with full-color plates and performance stills suffused in a rich desert palette, this volume was published on the occasion of an exhibition of new paintings by Dan Colen and the accompanying premiere of two performance pieces created in collaboration with choreographer Dimitri Chamblas. Colen's Desert Paintings (2015-19) are lush yet schematic interpretations of stills from Chuck Jones's animated shorts featuring Wile E. Coyote and the Road Runner. These unpopulated depictions of the cartoons' arid settings recall hard-edge abstraction, biomorphic landscapes by Georgia O'Keeffe, and popular art forms such as stage sets, billboards, and the Hollywood Western. The American cowboys who might inhabit these scenes were brought to life in two performances Colen presented with the Desert Paintings as a backdrop. In At Least They Died Together and Carry On Cowboy, figures in full Western regalia repeatedly performed a stylized, convulsive death on a mound of dirt in the gallery. In an insightful essay, Douglas Fogle explores the works' rich interplay of allusions, ultimately placing them in the context of the modern human condition.

Since 1986, Dutch artist Mark Manders (born 1968) has been developing an ongoing project titled "Self-Portrait as a Building." Taking the form of sculptures, installations, drawings and projections, these works map Manders' artistic persona through the conceptual model of a built edifice, in the fashion of the Renaissance memory theater. Inspired by writings on this subject and by other literature, Manders' earliest works in this project were primarily written, but over time, Manders found ways to deploy everyday three-dimensional objects--epoxy figures, animals, teabags, pencils, household furniture--to build a portrait of his own mind as an architectural space. As the artist explains, "this imaginary building, being composed of discrete objects, can shrink or expand at any moment. In this building, all words created by mankind are on hand." This publication accompanies the first North American touring exhibition of Manders' work.