A publishing collaboration between Gagosian Gallery and Phaidon. An in depth study of painters' and photographers' studios with examples from the sixteenth through the twentieth centuries. Introductory essays and catalogue entries on individual works by two experts in their respective fields - John Elderfield forA In the Studio: PaintingsA and Peter Galassi forA In the Studio: Photographs. An invaluable and unprecedented art historical resource that will also appeal to a general audience. The slipcased two book set accompanies simultaneous exhibitions, one each on painting and photography, at Gagosian Gallery's New York locations, open February 17-April 18, 2015.

Recognized as a major figure in postwar American painting, Richard Diebenkorn (1922-1993) was an artist strongly identified with California but whose work is beloved throughout the United States and the rest of the world. This catalogue is the most comprehensive volume on the artist now available. Jane Livingston's extensively researched biographical essay covers Diebenkorn's entire career and concentrates on the artist's inner life and purposes as revealed in his paintings. Ruth Fine deals primarily with the figurative aspect of Diebenkorn's work (1955-67), and John Elderfield concentrates on the Ocean Park period (1967-93). All three authors provide valuable insights based on their personal relationships with the artist and his widow, Phyllis. On both page and canvas, the reader can sense Diebenkorn's complexity and highly self-conscious working methods, as well as his formidable integrity. "The Art of Richard Diebenkorn" will give readers with an interest in all phases of modernism new thoughts about the relationship between abstraction and representation. Stunningly illustrated, with 192 full-color reproductions, this book is an exhilarating testament to a distinctive American artist.

Hugo Ball--poet, philosopher, novelist, cabaret performer, journalist, mystic--was a man extremely sensitive to the currents of his time and carried in their wake. In February 1916 he founded the Cabaret Voltaire in Zurich. The sound poems and performance art by Ball and the other artists who gathered there were the beginnings of Dada. Ball's extraordinary diaries, one of the most significant products of the Dada movement, are here available in English in paperback for the first time, along with the original Dada manifesto and John Elderfield's critical introduction, revised and updated for the paperback edition, and a supplementary bibliography of Dada texts that have appeared since the 1974 hardcover edition of this book.

Joe Zucker has flown under the radar of larger public awareness due to the frequent transformations in his art from one style to another, and thus his work has not been easily characterized and identified. Nevertheless, he has forged a powerful artistic persona as a process artist with a certain pop inflection, who not only grapples with formal and theoretical concerns but also explores themes of history, culture and Americana. This career-spanning survey deals with all of Joe Zucker's various bodies of work, from his grid paintings of the 1960s to his latest pieces, including the monumental 1000 Brushstrokes (2015-1016). Zucker's art is rooted in a conceptual framework where tools, materials, processes, procedures, content and subject matter are all interrelated.Working with materials ranging from cotton balls, sash cord, peg board and squeegees to acrylic and rhoplex, and exploring such themes as the grid, the history of cotton, ancient civilizations, an assortment of 'dubious characters', paintings that paint themselves, as well as meditations on the studio, Zucker merges materials, process and content - abstract and otherwise - to produce compelling works of extraordinary inventiveness, irony and passion.

The execution of Emperor Maximilian of Mexico, in 1867, was the subject of a quartet of paintings by the French Impressionist and early Modernist Edouard Manet. These works are rarely shown together, and in fact cannot be seen in their entirety, since one of them exists only in fragments, but the three intact paintings and the surviving elements of the fourth are reproduced in this publication, and will be shown at The Museum of Modern Art's exhibition in the fall of 2006. Maximilian's death was an event of great public interest in France, in part because French policies shared the responsibility for it. A European aristocrat of the Hapsburg family, Maximilian had been installed in 1864 after a trio of European powers, led by Napoleon III of France, mounted an invasion of Mexico to reclaim debts upon which the Mexican government had suspended payment. But Napoleon soon withdrew, abandoning Maximilian to his fate at the hands of a resurgent Mexican army. As news of the execution reached Paris, Manet reacted with a group of works synthesizing the information as it came to him and drawing heavily on an earlier painting inspired by violent political events, Goya's The Third of May. In addition to analyzing and documenting the creation of these works, John Elderfield, in his text, clarifies their historical importance in the context of modern art, and in so doing, offers a capsular history of the place of current events in art.