Wolfgang Tillmans (b 1968) is arguably the most influential artist and photographer of his generation, widely known for his work in 'i-D', 'The Face' and 'Purple', and for photographing, among others, Kate Moss, Gilbert and George and John Waters. The first non-British-born artist to be awarded the Turner prize, Tillmans has exhibited internationally, with two major museum tours travelling worldwide over the past ten years and many exhibitions in some of the finest art institutions. This revised edition is brought up to date with the inclusion of Tillmans' most recent work.

Carol Bove presents new work by "sculpture's woman of steel," as coined by Randy Kennedy in The New York Times. Her new sculptures expand on her investigations of materiality and form. Characterized by compositions of various types of steel, Bove's ongoing series of "collage sculptures," begun in 2016, amalgamates theoretical and art-historical influences across time periods and disciplines. To create these lyrical and abstract assemblages, Bove pairs fabricated tubing that has been crushed and shaped at her studio with found metal scraps and a single highly polished disk. Luminous color is applied to parts of the composition, transforming the steel-more commonly associated with inflexibility and heft-into something that appears malleable and lightweight, like clay, fabric, or crinkled paper. Bove's new works are smaller in scale and elaborate on the "collage sculptures," with more complex forms that twist, fold, and bend into postures that belie their material construction. Bove manipulates steel to varying degrees, rendering gentle folds in some, and extreme, almost anthropomorphic contortions in others. Their contrasting textures-matte, glossy, or rough-create a further sense of visual play, heightening the surface tension throughout. The publication features a new interview with the artist by Johanna Burton. Published on the occasion of the artist's solo exhibition at David Zwirner, Hong Kong in 2019, Carol Bove is available in both English only and bilingual English/traditional Chinese editions.

Essays, dialogues, and art projects that illuminate the changing role of art as it responds to radical economic, political, and global shifts. How should we understand the purpose of publicly engaged art in the twenty-first century, when the very term "public art" is largely insufficient to describe such practices? Concepts such as "new genre public art," "social practice," or "socially engaged art" may imply a synergy between the role of art and the role of government in providing social services. Yet the arts and social services differ crucially in terms of their methods and metrics. Socially engaged artists need not be aligned (and may often be opposed) to the public sector and to institutionalized systems. In many countries, structures of democratic governance and public responsibility are shifting, eroding, and being remade in profound ways-driven by radical economic, political, and global forces. According to what terms and through what means can art engage with these changes? This volume gathers essays, dialogues, and art projects-some previously published and some newly commissioned-to illuminate the ways the arts shape and reshape a rapidly changing social and governmental landscape. An artist portfolio section presents original statements and projects by some of the key figures grappling with these ideas.

One of the most continuously influential figures of the past half century, Joan Jonas (born 1936) was among the first artists to embrace the forms of video, performance and installation. From her beginnings as a sculptor, and her emergence in the New York art and performance scenes of the 1960s and 70s (including the seminal "Vertical Roll" video piece of 1972, in which the titular television malfunction enacted a memorably fractured female identity), up through her performance at the Performa 09 biennial and recent collaborations with composer Alvin Lucier and the avant-garde theater company The Wooster Group, her work has always been surprising, groundbreaking and necessary. This extensively illustrated volume, containing hundreds of full-color images, presents the definitive collection of Jonas' work. The first career-spanning monograph of the multimedia pioneer, it covers more than 40 years of performances, films, videos, installations, texts and video sculptures. In addition to documentation of the artist's crucial projects, "In the Shadow a Shadow" includes individual essays by Douglas Crimp, Barbara Clausen and Johanna Burton, a major survey text by Joan Simon, and unpublished photographs and drawings from Jonas' archives. This intensively researched and authoritative book documents the range, breadth and depth of one of most prolifically original artists of the twentieth and twenty-first century.

Jointly published by the Getty Research Institute and the New Museum. The first anthology to assemble the writings of the groundbreaking art historian, critic, and curator Marcia Tucker. These influential, hard-to-obtain texts--many of which have never before been published--by Marcia Tucker, founding director of New York's New Museum, showcase her lifelong commitment to pushing the boundaries of curatorial practice and writing while rethinking inherited structures of power within and outside the museum. The volume brings together the only comprehensive bibliography of Tucker's writing and highlights her critical attention to art's relationship to broader culture and politics. The book is divided into three sections: monographic texts on a selection of the visionary artists whom Tucker championed, among them Bruce Nauman, Joan Mitchell, Richard Tuttle, and Andres Serrano; exhibition essays from some of the formative group shows she organized, such as Anti-Illusion: Procedures/Materials (1969) and Bad Girls (1994), which expanded the canons of curating and art history; and other critical works, including lectures, that interrogated museum practice, inequities of the art world, and institutional responsibility. These texts attest to Tucker's tireless pursuit of questions related to difference, marginalization, access, and ethics, illuminating her significant impact on contemporary art discourse in her own time and demonstrating her lasting contributions to the field. Marcia Tucker's radical leadership profoundly impacted the contemporary museum field. Her legacy informs the work so many of us do today and inspires our vision of the future. This volume--filled with groundbreaking criticism, enduring wisdom, and razor-sharp wit--is an essential reference for any museum professional. --Thelma Golden, Director and Chief Curator, The Studio Museum in Harlem Marcia Tucker devoted her life to fighting for a new kind of art world: diverse and artistcentric, with museums that tell the real story of our culture, not just the history of wealth and power. She was a close friend and a passionate supporter. --Guerrilla Girls Marcia Tucker was one of America's most intelligent, generous, and courageous curators. She was a true heart who believed in and defended artists and their work totally. Her vision and determination, often against heavy resistance, changed how we think and feel about art. --Terry Allen

"The work of the sculptor Rachel Harrison is both the zeitgeist and the least digestible in contemporary art. It may also be the most important, owing to an originality that breaks a prevalent spell in an art world of recycled genres, styles, and ideas."-Peter Schjeldahl, The New Yorker In her sculptures, room-sized installations, drawings, photographs, and artist's books, Rachel Harrison (b. 1966) delves into themes of celebrity culture, pop psychology, history, and politics. This publication, created in close collaboration with the artist, explores twenty-five years of her practice and is the first comprehensive monograph on Harrison in nearly a decade. Its centerpiece is an in-depth plate section, which doubles as a chronology of Harrison's major works, series, and exhibitions. Objects are illustrated with multiple views and details, and accompanied by short texts. This thorough approach elucidates Harrison's complicated, eclectic oeuvre-in which she integrates found materials with handmade sculptural elements, upends traditions of museum display, and injects quotidian objects with a sense of strangeness. Six accompanying essays cover Harrison's earliest works to her most recent output. The book also includes a handful of photo-collages that the artist created specifically for this project. Published here for the first time, these pieces superimpose found images with reproductions of Harrison's own past work. Distributed for the Whitney Museum of American Art Exhibition Schedule: Whitney Museum of American Art, New York (October 25, 2019-January 12, 2020)