A sweeping retrospective exploring the oeuvre of an incandescent artist, revealing the ways that Mitchell expanded painting beyond Abstract Expressionism as well as the transatlantic contexts that shaped her Joan Mitchell (1925-1992) was fearless in her experimentation, creating works of unparalleled beauty, strength, and emotional intensity. This gorgeous book unfolds the story of an artistic master of the highest order, revealing the ways she expanded abstract painting and illuminating the transatlantic contexts that shaped her. Lavish illustrations cover the full arc of her artistic practice, from her exceptional New York paintings of the early 1950s to the majestic multipanel compositions she made in France later in her career. Signature works are represented here along with rarely seen paintings, works on paper, artist's sketchbooks, and photographs of Mitchell's life, social circle, and surroundings. Featuring scholarly texts, in-depth essays, and artistic and literary responses, this book is organized in ten chronological chapters. Each chapter centers on a closely related suite of paintings, illuminating a shifting inner landscape colored by experience, sensation, memory, and a deep sense of place. Presenting groundbreaking research and a variety of perspectives on her art, life, and connections to poetry and music, this unprecedented volume is an essential reference for Mitchell's admirers and those just discovering her work. Published in association with the San Francisco Museum of Modern Art Exhibition Schedule: San Francisco Museum of Modern Art (September 4, 2021-January 17, 2022) Baltimore Museum of Art (March 6-August 14, 2022) Fondation Louis Vuitton (October 5, 2022-February 27, 2023)

Volume 79 of the influential international art journal "Parkett" features Jon Kessler, Marilyn Minter and Albert Oehlen. In the tinkered gadgetry of Kessler's retro sci-fi installations, we peek through surveillance cameras to see our own image among his analog programs crammed with detritus of all kinds. Kessler's vista of (d)evolved cyberstuff is in a manic state of accumulation, as this data-diving artist masters the ecology of pure information. Within Marilyn Minter's fetishistic, flawless pictures, we find a painter obsessed with the clear articulation of magnified sweat beads and pore-smeared glitter. In each successive lip-smacking painting, Minter sets out to perfect beauty's disguise, affirming both her pleasure in fashion imagery, and an appreciation of its vulgar mishaps--say, a drag queen's eyelashes clumped together with too much mascara. According to essayist John Kelsey, Albert Oehlen's collage-paintings "seem almost bored of their own shock-value." And yet this artist, one of the most significant German painters of the past 20 years, can make boredom look like a rigorous, if not delirious experiment. Also featured: Spencer Finch, Gelitin and Mark Wallinger, as well as essayists Paul Bonaventura, Mark Godfrey, Glenn O'Brien, Katy Siegel, Andrea Scott and Pamela Lee, to name a few.

Art histories of the recent past usually depict art after World War II as wrested from a ravaged Europe by a triumphant United States, or in formal terms, floating free of social meaning. These histories fail to describe how the particularities of American culture shaped contemporary art. Without the European triumvirate of academy, aristocracy, and avant-garde, American artists instead responded to social issues native to the country: race, mass culture, individual success, suburbia, and the atomic bomb, which revived the Puritanical tradition of the apocalyptic imaginary. Katy Siegel examines how these issues came to find their place in art ranging from the works of Norman Lewis, Joan Mitchell, and Robert Rauschenberg to Kerry James Marshall and Mike Kelley, situating them amidst an American literary and political discourse that includes Herman Melville, Ralph Ellison, and Frederick Exley. Since '45 explores how U.S. culture not only shaped American art, but, given the political and economic dominance of the U.S., has continued to affect contemporary art worldwide, even as the American century fades.