The first in-depth survey of the life and work of Jim Hodges, one of America's most celebrated contemporary artists Jim Hodges is an artist who addresses issues such as memory, love, and existential struggles through a multifaceted practice that includes photography, screen printing, and sculpture. His use of found materials including rocks and denim, coupled with the adoption of transitory shapes like spiderwebs, speaks of a personal experience that resonates on a collective level filtered through elements available in nature. Mysterious, beautiful, poetic, and conceptually deep, Hodges's work has the rare quality of being simultaneously thought-provoking and visually beautiful.

At 18, Corita Kent (1918-1986) entered the Roman Catholic order of Sisters of the Immaculate Heart of Mary in Los Angeles, where she taught art and eventually ran the art department. After more than 30 years, at the end of the 1960s, she left the order to devote herself to making her own work. Over a thirty-five-year career she made watercolors, posters, books and banners--and most of all, serigraphs--in an accessible and dynamic style that appropriated techniques from advertising, consumerism and graffiti. The earliest of it, which she began showing in 1951, borrowed phrases and depicted images from the Bible; by the 1960s, she was using song lyrics and publicity slogans as raw material. Eschewing convention, she produced cheap, readily available multiples, including a postage stamp. Her work was popular but largely neglected by the art establishment--though it was always embraced by such design luminaries as Charles and Ray Eames, Buckminster Fuller and Saul Bass. More recently, she has been increasingly recognized as one of the most innovative and unusual Pop artists of the 1960s, battling the political and religious establishments, revolutionizing graphic design and making some of the most striking--and joyful--American art of her era, all while living and practicing as a Catholic nun. This first study of her work, organized by Julie Ault on the twentieth anniversary of Kent's death, with essays by Ault and Daniel Berrigan, is the first to examine this important American outsider artist's life and career, and contains more than 90 illustrations, many of which are reproduced for the first time, in vibrant, and occasionally Day-Glo, color.

Felix Gonzalez-Torres, one of the most influential artists of his generation, lived and worked resolutely according to his own idealistic principles, determined to "make this a better place for everyone." He combined elements of Conceptual art, Minimalism, political activism, and poetic beauty in an ever-expanding arsenal of media, including public billboards, give-away piles of candy and posters, and ordinary objects--clocks, mirrors, light fixtures--used to startling effect. His work challenged the notions of public and private space, originality, authorship and--most significantly--the authoritative structures in which he and his viewers functioned. Editor Julie Ault has amassed the first comprehensive monograph to span Gonzalez-Torres's career. In the spirit of his method, she rethinks the very idea of what a monograph should be. The book, which places strong emphasis on the written word, contains newly commissioned texts by Robert Storr and Miwon Kwon among other notables, as well as significant critical essays, exhibition statements, transcripts from lectures, personal correspondence, and writings that influenced Gonzalez-Torres and his work. Ample visual documentation adds another important layer of content. We see works not just in their completed state, but often in process, which for Gonzalez-Torres could mean the process of disappearing as viewers interacted with them. A crucial reference.