This monograph reviews Xavier Veilhan's monumental sculptures of the past ten years, works that include a buggy distorted as if seen through a rippling pool and a Cubist-style stainless-steel shark. Drawing on references ranging from classical statuary to Futurism and Op art, Veilhan has been compared to artists such as Damien Hirst and Jeff Koons.

This monograph was copublished by Cahiers d’Art and Centre Pompidou on the occasion of the 2019 exhibition Ellsworth Kelly: Windows, which brought together, for the first time, the six Windows made by Ellsworth Kelly (1923–2015) in France between 1949 and 1950. Kelly’s years in France were a period of perpetual invention and are fundamental to an understanding of his work. As he wrote in 1969, “After constructing Window with two canvases and a wood frame, I realized that ... painting as I had known it was finished for me.” This signal moment is evoked through more than 80 works, paintings, drawings, sketches and photographs, along with two beautiful essays by Yve-Alain Bois and Jean-Pierre Criqui.

Ellsworth Kelly is one of the most important abstract artists of the 20th and 21st centuries, as well as a key figure in the rebirth of Cahiers d’Art: the publishing house was reopened in 2012 with an exhibition of Kelly’s work in its legendary gallery, and, in collaboration with Yve-Alain Bois and the Ellsworth Kelly Foundation, it published the first volume of Kelly’s Catalogue Raisonné of Paintings, Reliefs, and Sculpture, 1940–1953.

The second in a unique series of anthologies which collects key writings by and on the most significant artists in contemporary culture. Influencing a whole generation of artists, musicians and theorists, since the late 1970s Christian Marclay has explored the interplay between sound, audio cultures and art across a diversity of media: performance, sculpture, photography, collage, musical composition, film, video and installation. Born in 1955, Marclay first became internationally known in the 1980s for his sculptures and reassembled readymades generated from evocative materials such as fragmented vinyl records or album covers. His ambitious multi-screen installations such as Video Quartet (2002), Crossfire (2007) and The Clock (2010) have entranced audiences into contemplating the complexities of time and narrative and the role of sound in their experience and representation. Marclay has also collaborated musically with Shelley Hirsch, the Kronos Quartet, Zeena Parkins, Elliott Sharp, Sonic Youth and John Zorn, among many others. Edited by curator and critic Jean-Pierre Criqui, this volume brings together the artist's statements and conversations with Bice Curiger, Jan Estep, Russell Ferguson, Kim Gordon, Douglas Kahn, Frances Richard, Philip Sherburne, Michael Snow, Lars Soederkvist, David Toop and Philip von Zweck. Writings on all aspects of Marclay's work are provided by Clement Cheroux, Dennis Cooper, Christoph Cox, Jean-Pierre Criqui, Noam M. Elcott, Russell Ferguson, Douglas Kahn, Rahma Khazam, Wayne Koestenbaum, Rosalind Krauss, Thomas Y. Levin, Tom Morton, Ingrid Schaffner, Olivier Schefer, Zadie Smith, David Toop and Rob Young.