Published on the occasion of the eponymous exhibition, Let me consider it from here features color reproductions of artworks by Saul Fletcher, Brook Hsu, and Tetsumi Kudo and transcriptions of the audio works of Constance DeJong, alongside newly commissioned poems by Geoffrey G. O'Brien, Simone White, and Lynn Xu, and an epilogue by Solveig Ovstebo. These artists frequently draw from their own histories, humors, and instincts as they grapple with or reimagine what's happening in the world around them. Across a range of mediums, their works open up spaces that oscillate between strange and familiar, registering deeply personal experiences as well as more ambient cultural and political pressures. Their practices are all similarly anchored in solitude and stretch outward to meet the world, guiding us to the liminal realms between the public and the intimate, the concrete and the fantastical.

Los Angeles-based artist Silke Otto-Knapp has developed a painting practice characterized by its rigorous process and attentiveness to the medium's possibilities. Using layers of black watercolor pigment, she builds up delicate surfaces, producing subtle variations in density and a powerful sense of atmosphere. Otto-Knapp's exhibition at the Renaissance Society, In the waiting room, presented a new group of large-scale free-standing paintings in that evokes a multidimensional stage set. Some depict silhouetted bodies while others introduce scenic elements reminiscent of painted backdrops. Offering a close look at the exhibition, this volume includes an array of illustrations, a conversation between curator Solveig Ovstebo and the artist, and four newly commissioned essays by Carol Armstrong, Darby English, Rachel Hann, and Catriona MacLeod, grounded in art history and performance studies.

In 2015 the Renaissance Society presented an exhibition of newly commissioned works by Los Angeles-based artist Mathias Poledna. Coinciding with the museum's centennial, it marked the final show in the institution's first hundred years. For this project Poledna used the notion of iconoclasm and its various historical contexts as a conceptual backdrop for two new works: a 35-mm film installation, co-produced with and premiering at the Renaissance Society, and a substantial alteration to the gallery space: the demolition, dismantling and removal of the gallery's ceiling structure, a steel truss grid that had horizontally bisected the double-height gallery since 1967. This catalog--featuring a cover designed by artist Peter Downsbrough--documents the exhibition and its installation, and in doing so celebrates a century of the Renaissance Society.

This richly illustrated volume offers an in-depth look into artist Sadie Benning's exhibition Shared Eye, presented at the Renaissance Society and the Kunsthalle Basel. The forty mixed-media panels in Shared Eye defy easy categorization: they include collage, painting, photography, and sculpture. The seriality of the installation also nods to the artist's history with the moving image. Throughout the 1990s, Benning created an extraordinary body of experimental video work, improvising with materials at hand and a toy camera. More than two decades later, in Shared Eye we see the handmade aesthetic, grainy imagery, and durational logic of Benning's early videos take on different forms to correspond to our current moment. The catalog documents the exhibition in full color, and it features an interview between the artist and Julie Ault, essays by John Corbett and Christine Mehring, and an introduction by the Renaissance Society's executive director, Solveig Ovstebo, and Elena Filipovic, director of Kunsthalle Basel. These texts provide illuminating framework for the exhibition and key insights into how Benning pushes the limits of abstraction in response to our present political climate.

Over a fifty-year career, Robert Grosvenor has produced a body of work that is at once solidly physical and conceptual, muscular and fluid. Grosvenor frequently uses industrial materials and found objects as he experiments with texture and scale, resulting in sculptures that reveal a handmade quality and subtle vein of humor. In 2017, the Renaissance Society presented an exhibition of the sculptor’s untitled work from 1989 to 1990. Re-contextualized within a spare architectural installation, this assemblage of materials and found objects eludes interpretation at the same time as it asserts its form and construction. Such nuances, combined with its ambiguous scale, evoke what critic John Yau has suggested is the labor of an “anonymous worker.” Grosvenor has made significant contributions as a sculptor over the past fifty years, but relatively few books have been published about his work. This monograph documents the Renaissance Society show and also features new scholarship considering Grosvenor’s work with a broad scope. The text includes contributions by Yves-Alain Bois, Bruce Hainley, Susan Howe, John Yau, and Renaissance Society executive director and chief curator Solveig Øvstebø.

In 2019, the Renaissance Society at the University of Chicago and the Carpenter Center for the Visual Arts, Harvard University co-organized an exhibition of a newly commissioned body of work by the Canadian artist Liz Magor. The accompanying publication, Liz Magor: BLOWOUT, is the artist's first US catalog in ten years, and it features thorough photographic documentation of the new work, commissioned texts by Mitch Speed and Sheila Heti, and a conversation between the artist and curators Dan Byers and Solveig Ovstebo. For more than four decades, Magor's practice has quietly dramatized the relationships that develop among objects, and she describes this body of work as "a collection of tiny and intense narratives." Each written contribution responds in its own way to Magor's new installations, which feature altered stuffed toys, bits of paper, and rat skins--sculptural "agents," in the artist's words--suspended in transparent Mylar box forms, and thirty-two pairs of secondhand shoes, each displayed within its own box amidst elaborate embellishments.

Published on the occasion of Nora Schultz's exhibition Parrottree-Building for Bigger than Real, January 12 - February 23, 2014. It was Schultz's first solo museum show in the US and the first show curated at the Renaissance Society by new Chief Curator and Executive Director, Solveig Ovstebo. Nora Schultz: Parrottree is a unique and ambitious hybrid between exhibition catalog and artist's book. Along with photo documentation of the Renaissance Society installation and an essay by the curator Solveig Ovstebo, the publication also includes The Parrot Magazine by Nora Schultz, a 64-page magazine "made by parrots for parrots and for all birds that need to integrate into human society under aggravated circumstances." Additionally, experimental writing pieces by Keren Cytter and Seth Price, and a visual art project by John Kelsey were all commissioned specifically for this book.