Glashelder over glazuur bevat naast steengoedrecepten en honderden kleurrijke glazuurtesten vooral inzichtelijke kennis, die door Sofie Goethals op een heldere en gestructureerde manier overgebracht wordt. Je leert grondstoffen en hun risico’s kennen en je krijgt praktische informatie over hoe je glazuren kunt testen. Er wordt helder uitgelegd hoe je glazuren optimaliseert voor gemakkelijk gebruik, zodat je goede, reproduceerbare resultaten bereikt.

Het boek is niet enkel voor beginners. Onderwerpen zoals warmtearbeid, glazuurchemie en zelf glazuren ontwerpen, komen ook aan bod. Tot slot is er een uitgebreid deel over glazuur- en kleiproblemen en de handigste oplossingen.

Wil je een mooi vormgegeven en informatief boek, waarin theorie en praktijk hand in hand gaan, dan is Glashelder over glazuur echt iets voor jou!

Fully illustrated, the catalogue also includes an in-depth conversation between de Waal and cultural historian Josh Kun about the project’s connection to Los Angeles’s mix of cultures and the transmission of ideas. A selection of poems on exile that speaks to global histories of migration completes this thought-provoking tour through The Huntington’s iconic spaces.

Schilder Kristof Santy (geb. 1987, Roeselare) put inspiratie voor zijn kleurrijke, levendige beelden uit volksverhalen en gebruiken, evenals uit zijn directe omgeving. In een tijdperk van snelle digitale beeldproductie kiest Santy bewust voor de schilderkunst als een traag en weerbarstig medium. Zijn praktijk onderzoekt hoe beelden functioneren, hoe het geheugen werkt en hoe de schilderkunst onze blik op de werkelijkheid opnieuw kan vormgeven.

Hoewel Santy vertrekt vanuit herkenbare motieven uit het dagelijks leven – bloemen, interieurs, gerechten, voertuigen, gereedschap – overstijgen zijn werken een loutere weergave. Door zijn spel met compositie en perspectief, en het gebruik van geometrische patronen, herhaling en verzadigde kleuren, worden alledaagse objecten monumentaal, raadselachtig en geladen met betekenis. Santy verzamelt bovendien allerlei vormen van volkskunst en objecten; zijn woning en atelier vormen zo een waar rariteitenkabinet, dat dient als een belangrijke bron van inspiratie.

In korte tijd heeft Santy een indrukwekkende artistieke carrière opgebouwd, zowel in België als internationaal. Hij had solotentoonstellingen in Los Angeles, Brussel, Wenen en Milaan, en nam deel aan groepstentoonstellingen op locaties zoals Bozar, Mu.ZEE, S.M.A.K., Abby Kortrijk, M HKA en Kunsthaus NRW.

Deze publicatie brengt Santy’s meest recente werk samen – schilderijen, uitsneden en tekeningen.

Although long esteemed within the art world, Abramović  (b. 1946, Belgrado) became a global cultural figure after her groundbreaking 2010 MoMA retrospective, The Artist Is Present. This volume, timed to celebrate her eightieth birthday in 2026—which will be marked by major events, including a large-scale project at the Park Avenue Armory—offers a fresh, personal encounter with the artist. Rather than a traditional monograph, it serves as a poetic map of her extraordinary life, tracing her mystical, daring, and often humorous journey through stories of love (with an entire section devoted to “love spells” and her dreams), sex, loss, fear, nature, ancestry, and creativity.
The volume is part sketchbook, part diary, part personal philosophy. Abramović’s voice remains direct and unfiltered, reflecting the spirit that has defined her five-decade career. Her reflections reveal the emotional and psychological terrain behind the boundary-pushing works that have reshaped the possibilities of art.

The show gathered more than thirty canvases and works on paper from the 1990s to the present, and its final room held new works made in response to Venice. The bilingual English and Italian catalogue reproduces the exhibited works with full-bleed details of several paintings and installation photographs. The curator, Elisabetta Barisoni, contributes an essay on Saville’s use of art-historical sources. Stefania Ventra of Ca’ Foscari University talks with the artist about her early trips to Venice, the influence of Titian and her pursuit of emotional truth. Graphic Thought Facility designed the book, a square hardcover issued in a slipcase.

Following a period of recession and unrest, the 1990s saw a new dawn of optimism, freedom and rebellion was ushered in, led by a radical generation of diverse creative talent who dismantled hierarchies across creative forms.

Edited by fashion industry game changer, Edward Enninful, this book captures the raw electricity of a changing British psyche at the intersection of art and fashion. It brings together a riotous mix of photography, painting, installation and couture from groundbreaking artists, photographers and designers including Alexander McQueen, Corrine Day, Damien Hirst, Sarah Lucas, Vivienne Westwood, Chris Ofili, David Sims, Tracey Emin and Jurgen Teller.

Through first-hand reflections from a chorus of iconic and trailblazing figures such as Steve McQueen, Yinka Shonibare, Normski, Gillian Wearing, Wolfgang Tillmans, Jarvis Cocker, Sonia Boyce and Stella McCartney, the extraordinary catalogue explores how these visionaries designed – and defined – the decade.

Anderson reveals the creative impulses behind her many iconic works and introduces new bodies of work in detail. From the iconic Drum Dance and the violin duets of Duets on Ice to her cutting-edge experiments with virtual reality and artificial intelligence, the book explores how Anderson “puts things into words and words into things.” She provides behind-the-scenes insights into major installations like Habeas Corpus, which examines justice through the story of a Guantánamo detainee, and Salute, an animatronic display of red flags symbolizing a nation in upheaval. New works include a project centered on the life and “family lore” of Anderson’s Swedish grandfather Axel Ephraim Anderson and Scenes from ARK, a translation of the artist’s three-hour performance work which centered around “end-times fables, climate, survival strategies, love, American history, and stories from the Bible.”

Richly illustrated and filled with both expository and poetic texts (including maxims, dreams, and lyrics), the book is a walk-in notebook of an artist perpetually curious about the intersection of technology, memory, and the American cultural landscape.

For over twenty-five years, Teresa Margolles has investigated the social and aesthetic dimensions of conflict, creating sculptural installations, photographs, films, and performances imbued with material traces of death. The artist’s work most often incorporates physical remnants of violent crimes resulting from political corruption and social exclusion—blood-stained sheets, glass shards from shattered windshields, bullet-ridden walls, or used surgical threads—whose victims are otherwise rendered invisible. Tapping into the restrained sensibilities of conceptualism and minimalism, Margolles inserts post-mortem matter typically obscured from public consciousness into the architectures of civic and cultural institutions. Filling a white-cube gallery space with a dense fog of vaporized water previously used to wash corpses, for example, or mounting a flag onto the facade of the Venice Biennale’s Palazzo Rota-Ivancich splattered with blood from homicides near the Mexico-U.S. border, Margolles transgresses normative boundaries to command attention and invoke accountability.

Featuring more than 350 works, this retrospective follows five decades of Diebenkorn’s evolving practice—from the atmospheric abstractions of his early years to the radiant Berkeley and Ocean Park series that capture the light, color, and expansive coastal horizons of California. An artist of uncommon range, Diebenkorn absorbed and transformed many layers of influence—from Henri Matisse and Piet Mondrian to Edward Hopper and the New York School—in developing a visual language unmistakably his own. The portrait that emerges is of an artist moving with assurance between abstraction and figuration, producing paintings, prints, and drawings that are rigorous, exploratory, and profoundly humane.

Essays and reflections by leading art historians, fellow artists, close friends, and family complement a rich array of images. These diverse texts punctuate and reinforce the timeline of the artist’s life and development, offering both scholarly and deeply personal perspectives on his artistic process and work.

Monir Shahroudy Farmanfarmaian (1922–2019), dat is licht en beweging, abstractie en geometrie. Herhaling, weerspiegeling en veelvoudigheid lopen als een rode draad door haar botanische tekeningen, spiegelmozaïeken en driedimensionale assemblages.

Haar heel persoonlijke, grensoverschrijdende beeldtaal is de vrucht van het samengaan van de twee elementen die haar hebben gevormd: de nieuwe artistieke stromingen uit het naoorlogse New York en het Teheran van de jaren 1960 en 1970, en de eeuwenoude Iraanse beeldcultuur–zowel islamitische kunst en architectuur als traditionele ambachten.

Dit boek biedt een gelaagd portret van een kunstenaar die een brug slaat tussen wereldwijde twintigste-eeuwse modernismen en de hedendaagse kunst. Tijd, plaats en politieke breuken hebben geen vat op de formele helderheid en de originele kracht van haar werk.

Deze publicatie verschijnt naar aanleiding de tentoonstelling Monir Shahroudy Farmanfarmaian: Teheran/New York in Moderna Museet Stockholm van 3 oktober 2026 tot 28 februari 2027. De tentoonstelling reist daarna door naar Museo Reina Sofía in Madrid en Kunstmuseum Den Haag.

This anonymous material echoes several themes that run through her work: investigation first, observation second, and above all, cataloging—a form she is particularly fond of. Behind the accumulation of these thousands of ads, a map of expectations, projections, and loneliness gradually takes shape. While in the 1900s marriage appeared to be an economic arrangement, over time issues of gender equality, women’s financial independence, and moral commitment have shifted, revealing by implication the social, ethical, and emotional changes that have evolved over the past century.

The title, On the Hunt, introduces another dimension: that of watching, waiting, and surveillance. Each decade—featuring about fifteen ads, men and women carefully selected by the artist—is accompanied by an image slipped into a glassine envelope, with a Japanese-style binding. Printed on both sides, each image shows, on one side, an animal captured by an infrared camera with an automatic shutter (Sophie Calle obtained these surveillance images through a study of various hunting associations conducted on wildlife near French highways), and on the other side, a hunter’s mirador. Reading the book is an active process: as the reader goes through the 24 small envelopes, the artist leaves it up to them to choose which side of the image—front or back—they prefer to view. As they flip through the pages, they thus outline their own search for a romantic partner. This format extends the role-playing suggested by the title: being the hunter or the prey, the observer or the observed.

Conceived as a book à tiroirs, On the Hunt continues the exploration Sophie Calle has been conducting for many years on power, trust, doubt, and intimacy in the realm of romance. The book also reveals the evolution of our behaviors, our perceptions of desire, our understanding of gender, and the shifts in our emotional dependencies over the past century.

Tekenen, schilderen en digitale reconstructie vloeien in elkaar over tot een web van beelden waarin origineel en kopie, werkelijkheid en verbeelding, nabijheid en afstand hun vaste betekenis verliezen. Elke lijn wordt een spoor van kijken, elke herhaling een nieuwe benadering van dezelfde ongrijpbare tekening.

Dit boek brengt tekeningen, teksten en reflecties samen in een persoonlijk en poëtisch onderzoek naar de ruimte tussen verschijnen en verdwijnen. Een uitnodiging om aandachtig te kijken naar wat vaak onopgemerkt blijft.

Inspired by 16 years of shooting some of the biggest names in the music world, witnessing the rise and fall of pop icons, and watching descents into madness as they experience the backlash of fandoms, Collins created two fictional music groups exclusively for this publication. Collins pulls themes of identity and mental health through this compellingly realistic but narrative fiction—the solo star and pop group featured might remind readers of BLACKPINK and NewJeans, Olivia Rodrigo and Selena Gomez, and Y2K popstars.

This book is a cinematic journey of the performers as seen through the eyes of their fans and stalkers, images of performances, rescues, and confrontations, interspersed with letters, conversations, and diary entries. The five chapters follow Ashley, a solo star, and Siren8, a teen idol group designed for bubblegum appeal. Ashley, once a quiet artistic student, is discovered at a school performance and pushed into pop stardom. She starts sincere and gentle, but fame twists her identity. Manipulated, isolated, and disassociated, she becomes a ghostlike figure to those who knew her before disappearing under mysterious circumstances. Siren8 contrasts with Ashley’s “dreamy-girl-next-door” image. They tour with Ashley before an unexplained falling-out. Vuyu, Ashley’s quiet, protective best friend, knew the real Ashley and reappears in anonymous forums to correct misinformation. Momo, a hardcore Ashley fan and obsessive researcher who created a viral timeline thread that’s a monument to Ashley’s erasure. B, a loner at Ashley’s school, fixates on Ashley as a symbol of truth. She writes dozens of letters, convinced she’s protecting Ashley, an obsession that slowly turns violent.

Roy Lichtenstein’s bold, instantly recognizable imagery and style helped redefine the possibilities of painting when it first gained widespread attention in the early 1960s, and it has been ceaselessly copied ever since. This ubiquity is part of his legacy, but it has also obscured the radical nature of his work. Spanning his entire career, from his formative years at Ohio State University in the 1940s to his death in 1997, this volume offers a fresh consideration of Lichtenstein’s methods, influences, sources, and subjects, and includes reproductions of rarely seen early works, preparatory drawings, and source materials. It eschews traditional chronology in favor of unexpected pairings and groupings that reveal the artist’s lifelong engagement with repetition, simulation, and the aesthetics of mass culture, while at the same time exploring how his images have subsequently been cited, distorted, and reimagined. This fascinating study highlights how Lichtenstein’s practice of producing works that nod to mechanically printed materials but were actually painstakingly painted by hand created a tension between technological reproduction and artistic touch that presciently foreshadows today’s visual landscape of cropped, altered, and repurposed images.

In this book Van Saene tells his story through handwritten texts and a wealth of imagery – tracing his journey from a young fashion designer who was part of the Antwerp Six and his subsequent tenure as a teacher at the Antwerp Fashion Academy to the present day, where he had decisively chosen to focus on the visual arts. More photos on our website book ‘Dirk Van Saene’.
On the collector’s item:
Dirk’s name was constantly mispronounced and misspelled, so back in 2001, graphic designer Paul Boudens created a series of humorous T-shirts featuring variations such as “Dirk de Sanne,” “Dirk von Zahne,” and “Dirck van Sean”. These have now been re-released in a limited edition of 50 copies. Furthermore, Dirk Van Saene created an original collage on the covers of these 50 books.

Thought-provoking essays by leading researchers offer new perspectives on the artist’s work, examining the intellectual and social dimensions of iconic and more recent works.

An illuminating overview of a diverse artistic practice that is both vocal and uncompromising.

This publication accompanies the exhibitions Ai Weiwei: The Art of Defiance at Patrick Derom Gallery, Brussels, Belgium (19 September–14 November 2026) and Ai Weiwei: Life – Revolt – Poetry at the Emile Verhaeren Museum, Sint-Amands, Belgium (21 September–13 December 2026).

Seven essays consider Dalí’s engagement with art history and his place within that tradition. Among them, Frederick Ilchman explores his fascination with Italian Renaissance masters, especially Leonardo da Vinci; Jennifer Cohen examines the artist’s lifelong dedication to taking inspiration from the past; Claire Howard situates Dalí within a wider tradition of the fantastic, from Hieronymus Bosch and Pieter Breugel to the 1930s; Julia M. Vázquez considers Dalí’s Spanishness, his relationship to portraiture; and William Jeffett offers concluding reflections on time and mortality.

Lavishly illustrated, this publication presents an unexpected view of Dalí—an artist whose avant-garde disruptions were inseparable from his devotion to the past.

ENGLISH: The French artist Jean-Auguste-Dominique Ingres (1780–1867) demonstrates a distinctive and highly personal flair for depicting textiles, whether through the rendering of drapery or the very texture of the fabrics themselves. This inclination likely stems from his training as a history painter in David’s studio, where such technical exercises were emphasized. Throughout his career, Ingres made a point of painting his sitters’ clothing himself—in both his history paintings and his portraits. He never delegated this task to his assistants, unlike the furniture or background elements, which were often handled by the studio. Through an exceptional selection of paintings, drawings, textiles, accessories, and period documents, this book highlights the master’s unique focus on the depiction of fabrics, drapery, and garments, revealing how fashion shapes the artistic eye and composition. It explores how Ingres elevates textile materials, plays with transparency, draws inspiration from the trends of his day, and engages with art history to imbue his portraits with a timeless modernity. It also illustrates the influence of Ingres’s painting on 20th- and 21st-century fashion designers such as Castelbajac, Saint Laurent, and Issey Miyake. IN FRANS!

Kim works in series, creating multiple works in similar styles using similar techniques, all bearing the same title. Selections from more than 50 series are included here, revealing work in dramatically different color schemes, compositions, and scales. Organized by series, rather than chronologically, the book invites readers to see the how different works influence and grow out of one another, and how the artist revisits certain bodies of work after years have passed. The cyclical nature of Kim’s process speaks to themes of nature, spirituality, creation, and time.

The book’s stunning, spare design gives her work the primary focus while echoing its simplicity and materiality. Image banks are punctuated with texts, including essays and a conversation between Minjung Kim and critic Andrew Russeth, printed on different paper stocks.

Aguirre y Otegui toont zich in zijn werk een getuige van zijn tijd: hij heeft oog voor de grote thema’s die de wereld beroeren, maar evenzeer voor de weerbaarheid van de mens die in de maatschappij overeind blijft. Zijn sculpturen zijn tegelijk kwetsbaar en krachtig, monumentaal en menselijk.

Dit rijkelijk geïllustreerde boek biedt een diepgaande kijk op een oeuvre dat beeldhouwkunst herdefinieert als een plek van reflectie, verwondering en verbinding.

Deze publicatie verschijnt naar aanleiding van de gelijknamige tentoonstelling in KMSKA Antwerpen van 3 oktober 2026 tot en met 17 januari 2027.

The works appear differently: seen from behind, fragmented, captured in their reverses, their details, their gestures of making. Light passes through the metal, brushes against the linen, never settling. It emerges, then recedes. In its wake, shadows come into being.

Photographed on film, in the intimacy of the gesture, Adeline Halot’s creations reveal themselves through their rhythms, their hesitations, their silences, their sudden emergences.

This book offers a glimpse into this intimate space where work is constantly made and unmade. A raw, fragmentary vision—sometimes blurred, always alive.

Julie Wolfe (b. 1963) is a multimedia conceptual artist based in Washington, D.C., and New York City, whose work explores the relationship between external environments and interior states of perception through painting, collage, installation, and artist’s books. Her practice is known for its experimental use of layered transparencies, overprinting, and hand intervention, drawing from archives of collected imagery to create richly textured visual systems. She is currently collaborating with The Metropolitan Museum of Art’s Costume Institute on its Spring 2026 exhibition, and her work is held in major public and private collections.

Note: Cover images are variable. Cover image may be different than what appears here.

ENGELS: The concept of the “sentimental museum” originated in 18th-century English literature and, following the French Revolution, became central to the project of the first *Musée des monuments français*—an institution focused not on scholarly study, but on emotion. In the 20th century, artists revisited this approach, echoing diverse intellectual projects such as Aby Warburg’s *Mnemosyne Atlas*, André Malraux’s “Museum Without Walls” (*Musée imaginaire*), and Harald Szeemann’s “Museum of Obsessions.” From the artist’s studio—acting as a repository of objects for inspiration—to artworks that incorporate the practice of collecting through the assembly, accumulation, proliferation, or display of objects from widely varied fields, the idea of ​​the museum has found new life. These proposals—at once bold and moving—create worlds unto themselves and form the unifying thread of this book, which draws upon the collections of three major institutions: the Musée des Beaux-Arts de Lyon, the Centre Pompidou, and macLYON. IN FRANS!

This expanded edition traces the garden’s shifting role – from private idyll to shared space, from backdrop for creativity to lifeblood of local communities – but also considers its urgent contemporary resonances. Today, the garden is a powerful site for artists to engage with questions of climate crisis, environmental responsibility and the decolonisation of cultural and natural spaces. At once a place of reflection and of radical possibility, the garden emerges as central to both artistic practice and everyday life.

Featuring essays from Olivia Laing, Bob and Roberta Smith, and Claire Ratinon among others, this volume combines scholarly depth with visual richness, making it an essential companion for anyone fascinated by the enduring and ever-evolving dialogue between art and nature.

Dit boek biedt een ruim overzicht van zijn loopbaan, van de Eerste Wereldoorlog tot het begin van de jaren 1950, aan de hand van 120 werken – schilderijen, tekeningen en prenten – waaronder meesterwerken uit grote Belgische museumcollecties en privéverzamelingen. Daarnaast wordt zijn werk in dialoog gebracht met dat van een aantal tijdgenoten – Gustave De Smet, James Ensor, Fernand Léger, Piet Mondriaan, Giorgio Morandi, Constant Permeke en Rik Wouters. Zo werpt het boek een nieuw licht op Brusselmans’ plaats binnen de belangrijkste kunststromingen van het begin van de twintigste eeuw.

Met een inleiding door Ann Geeraerts, curator van de tentoonstelling, teksten van Kurt De Boodt, Eric Min, Francisca Vandepitte, en een interview met de hedendaagse kunstenaar Kristof Santy.

Voor Ai Qing was dit de poëzie van Emile Verhaeren, die hij in Parijs had leren kennen, en als eerste naar het Chinees vertaalde. Voor Ai Weiwei de kennismaking in New York met het werk van Marcel Duchamp en Andy Warhol, en hun ideeën die hij in de Chinese avant-garde van de jaren 1990 introduceerde.

Life, Revolt, Poetry geeft een beeld van het artistieke parcours van vader en zoon. Het boek leest als twee parallelle verhalen die opvallend veel gelijkenissen vertonen. Beide kunstenaars komen ook in aanvaring met de Chinese autoriteiten: zowel Ai Qing als Ai Weiwei werden gevangengezet en verbannen. Zowel het boek als de tentoonstelling zijn opgevat als een hommage van Ai Weiwei aan zijn vader en aan Emile Verhaeren. IN ENGELS!

Born a decade apart, American artists Arthur Jafa (b. 1960) and Richard Prince (b. 1949) share an ethos of lawlessness when it comes to the appropriation and manipulation of images siphoned from movies, pulp novels, comic books, YouTube videos, sci-fi stories, album covers, record sleeves, rock ‘n’ roll posters, first-edition Beat volumes, news reels, celebrity memorabilia and social media posts. Both artists chart peculiar topographies specific to the United States: Jafa’s reflecting his identity as an African American man coupled with a mission to invigorate Black cinema and art; Prince’s hovering between a self-conscious critique of white masculinity and a fascination with the underbelly of the American psyche. This volume creates a dialogue between the two artists, which unfolds through a series of thematic juxtapositions–combinations of works by both artists that illuminate each of their practices and tease out shared subject matter and mutual obsessions.

For more than 20 years, French Moroccan artist Yto Barrada (born 1971) has explored natural and cultural phenomena as well as subaltern histories through films, installations, sculptures, textile works, photographs and site-specific projects. This long-awaited monograph spans her entire practice, from her first acclaimed photographic series A Life Full of Holes (1998–2004) to her most recent research on textile, dyeing and “color problems,” in which she once more bridges nature, materiality and art history.
This volume unifies an international group of writers to decipher the methodologies and perspectives active in Barrada’s practice. The volume also highlights Barrada’s commitment to the city of Tangier, where she founded a cinema and an eco-feminist African campus and dye garden, as well as her relationship with American artist and longtime Chelsea Hotel resident Bettina Grossman (1927–2021), whose estate is in her care.

French artist Sophie Calle (born 1953) works across photography, video, film, books, text and performance to conduct sociological and autobiographical investigations. She is, above all else, a storyteller. Over the course of five decades, she has built an expansive body of work that probes what it means to be human—thematically taking up intimacy, vulnerability, longing and loss. Calle fuses the registering sobriety that we associate with photography with deeply personal narratives—the artist’s or others—that are heartfelt, moving, messy, funny and ironic.
Something Missing? offers a compact, yet nuanced overview of the French art star’s oeuvre, presenting both classic and recent works. The volume also features an exclusive interview conducted by one of France’s most prominent contemporary writers, Édouard Louis, bringing readers closer than ever to the artist and offering rare personal insight into her work and world. The avant-garde composer Laurie Anderson and curator Yve-Alain Bois also contribute texts, in which they respond to Calle’s unsparing inquiries into interior life.

Venice is the ideal location for this work, not an immobile museum, but a pulsating organism, in constant transformation: a place where ideas circulate freely –like the tides– and take shape through materials, gestures and the slow time of doing.

In April 2026, the Foundation created a space for dialogue and collaboration between established masters and emerging talents in the fields of art, design, fashion, architecture, gastronomy, and beyond. A crossing point, where tradition meets the present and is constantly renewed. At its core, the human dimension of creation: artisans, designers, artists, and young creatives whose work fuels and transforms culture. The new generations will not be mere visitors, but active protagonists, called upon to contribute and redefine the creative landscape.

This volume chronicles the Foundation’s first project, The Only True Protest is Beauty, through a rich selection of clothing, photographs, jewelry, furnishings, and high-quality craftsmanship from around the world. The works dialogue with each other, intertwining past and present, local traditions and international visions, in a path that opens up new interdisciplinary perspectives. The texts of Glenn Adamson, Alexander Fury, Ezra Babski and Dries Van Noten frame this multidisciplinary and bold approach at the same time.

An invitation to recognize the enduring strength of craftsmanship and to imagine, together, the cultural landscapes of tomorrow.

Milton Avery, a modernist painter at work in the first half of the twentieth century, is rarely linked to Adolph Gottlieb or Mark Rothko, who were twenty years younger and would become associated with the New York School in the 1950s. While Avery consistently drew inspiration from the visible world, Gottlieb and Rothko invented abstract pictorial languages all their own. Despite these differences, they were a tight-knit trio whose camaraderie and mutual love of the ocean had lasting impact on their work.

This pioneering volume traces their friendship from 1932, when they first summered together on Cape Ann, through the crystallization of their ideas in the 1940s, to the deeply centering decades that followed, when all three created the mature, independent painting styles for which they are best known. This late work, each in its own way, is indebted to the time the artists spent together on the rocky coast and sandy beaches of Cape Ann. Contributions by leading scholars and family members enrich this unique exploration of artistic friendship and its bearing on the work of three of the twentieth century’s most celebrated artists.

For more than thirty years, Kentridge’s art has been celebrated for its profound engagement with history, politics, and the uncertainties of the human condition. In 2024, he delivered the prestigious Slade Lectures at the University of Oxford; A Natural History of the Studio brings these together in a lively, book-length exploration of the creative process.

Moving between memory, art history, and experiment, Kentridge shows how “the outside world dissolves” into the artist’s materials. Inside his studio, films are run backwards and forwards, a glimpse of dappled light brushes up against Constable’s vast river landscapes, and Kentridge’s own work slowly takes shape and comes into view. Playful and erudite, he emerges as the rare artist with a gift for writing clearly and generously about the creative act.

Lucia Bru’s creative process is based on a sustained focus on the behavior of materials. By incorporating uncertainty and chance, the artist conceives of sculpture as a space for negotiation with a mineral world endowed with memory, resistance, and transformation. This relationship opens her work to organic, animal, and human resonances, without ever compromising on a rigorous formal economy.

Drawing, photography, and video also occupy an essential place in her practice. These mediums allow her to explore subtle and transient phenomena—reflections, folds, shadows, hollows, or tensions—and to reveal their perceptual and spatial dimensions. At the same time, Lucia Bru has, since her beginnings, kept all of her essays and fragments, gradually building a physical archive of her work. This body of experiments, both methodical and intuitive, sheds light on the continuities and shifts in her approach.

Taken together, these pieces evoke, through their presentation and status, Eva Hesse’s Test Pieces and offer a reading of Lucia Bru’s work that is both retrospective and open-ended.

Published on the occasion of Lucia Bru’s exhibition at MAC’S Grand-Hornu, June 14, 2026 – November 1, 2026.

Didier Claes starts his analysis by reflecting on what he sees when he looks at these works. Noting their sculptural beauty and the artistic genius of their creator, he first hails them as individual masterpieces before fostering a transhistorical dialogue between sculptures, masks, paintings and contemporary pieces that reveals the continuity that underpins African aesthetics. Africa Legacy is an invitation to recognise Africa as one of the world’s great centres of artistic creation.

In haar kenmerkende kraakheldere stijl zoomt Baume scherp in op complexe onderwerpen als gemeenschap en nationaliteit, neurose en mystiek, liefde en pijn. Bovenal is De opening een sprankelend onderzoek naar de helende kracht van kunst en literatuur, en een ode aan de vriendschap wanneer het noodlot onverbiddelijk de werkelijkheid binnendringt.

Dit kunstenaarsboek brengt de diverse elementen van zijn praktijk samen en vouwt de wereld van de kunstenaar open via het medium van het boek.

This publication examines, for the first time, the American painter Mark Rothko’s profound rapport with the city of Florence, following a route that starts in the rooms of Palazzo Strozzi and progresses toward two iconic locations, the Museo di San Marco, home to the frescoes of Fra Angelico, and the vestibule of the Biblioteca Medicea Laurenziana, designed by Michelangelo.Rothko’s first encounter with Florence was in 1950, when he visited Italy with his wife, Mell. The trip marked the beginning of his fascination with the city’s groundbreaking artists of the 14th, 15th and 16th centuries. Through an ample selection of works dating from the 1930s to 1970, Rothko in Florence explores Rothko’s enchantment with the Renaissance, and in particular with the artists Giotto and Fra Angelico, while simultaneously tracing the course of his broader artistic, spiritual and cultural legacy. An exhaustive chronology, lavishly illustrated with images from the family archives, the volume unspools an underexplored facet of the great abstract artist’s practice.Mark Rothko (1903–70) was born in imperial Russia and immigrated to the United States as a child. He studied at Yale University and became an instructor at the Center Academy of the Brooklyn Jewish Center. In the 1930s Rothko exhibited alongside his fellow members of the Ten, which included Louis Harris, Adolph Gottlieb and Joseph Solman. It was not until 1947 that his now-signature style―monochrome or multicolored rectangles against a solid background―began to coalesce.

In Kenyan British artist Michael Armitage’s (born 1984) most recent works, mythology, migration and sexuality converge in his large-format paintings made on Lubugo, a Ugandan bark cloth, emphasizing the East African iconography at the heart of his visual language. His dense and flamboyant compositions mesh African culture with Western European mythology.

Het boek *Benoît: Kunstenaar in Architectuur* is de eerste publicatie die de samenwerking van de kunstenaar met Belgische, Zwitserse en Britse ontwerpbureaus belicht – waaronder De Smet Vermeulen, EM2N, jo taillieu architecten / advvt, Kraaijvanger Architects, Marie-José Van Hee, Robbrecht en Daem, noAarchitecten en Sergison Bates architects. De publicatie biedt inzicht in zijn creatieve wisselwerking met architecten en schetst het ontstaan ​​van een gedeeld, nieuw auteurschap in de interactie tussen kunst en architectuur.

Aan de hand van vier thematische hoofdstukken – getiteld Tafel, Kamer, Landschap en Stad – worden tien van Benoîts ruimtelijke werken diepgaand gepresenteerd, elk voorzien van een beschrijvende tekst. Aanvullende essays werpen licht op Benoîts werkwijze en vakmanschap. Het boek wordt afgesloten met een geïllustreerde, volledige catalogus van zijn gehele oeuvre op het gebied van kunst in de architectuur.

This book is no conventional retrospective, but a multidisciplinary atlas that immerses the reader in Van Saene’s lyrical, surreal world – a richly nuanced portrait of a singular, non-conformist artist. It traces a remarkable career lived entirely on his own terms: from the Antwerp Fashion Academy to the pantheon of the Antwerp Six, from conceptual runway shows to today’s most prestigious art galleries. Intentionally non-chronological in structure, the book weaves together fashion shows, behind-the-scenes anecdotes, cult boutiques, collaborations and personal memories into a single narrative.

Dirk Van Saene (b. 1959) is a Belgian fashion designer and artist who lives in Zandhoven with his husband, Walter Van Beirendonck. He achieved international acclaim as one of the Antwerp Six. Alongside the collections released under his own name, he taught fashion design at the Antwerp Fashion Academy.

The book is available in two different cover designs. The version you receive is selected at random, as intended by Dirk Van Saene.

Featuring more than seventy illustrations, this publication offers an overview of Redon’s career. The informative, accessible essays examine his disparate influences from the worlds of religion, mythology, literature, and music, and demonstrate why Redon’s mysterious work is an important precursor to Surrealism.

The backbone of the book is a text by the Belgian writer Barbara De Coninck, based on interviews with Visch and organised around themes such as the beginning, public space, the drawings, the HuisHenkVisch Foundation …

Visch takes the floor and—inspired by Barbara’s questions—recounts a unique artistic practice spanning nearly half a century. Through a wealth of stories, we gain an insight into the artist’s mind and are carried along on the waves of his imaginative brain. We learn who his heroes are, what he struggles with, what his view of humanity is, and where the origins of his poetic titles lie…

In addition to the many supporting images accompanying the text, the book also features an extensive visual section of sculptures and drawings, selected by Posture Editions.

The book contains a substantial photographic coverage of the solo exhibition ‘Ik was getrouwd met een aap’ [I Was Married to a Monkey], which Visch constructed as a large-scale installation tailored to the exhibition spaces of Be-Part in Kortrijk, on display from 12 September to 29 November 2026. 

The groundbreaking artists Lee Krasner (1908–1984) and Jackson Pollock (1912–1956) profoundly influenced each other as they found their own places at the forefront of the Abstract Expressionism movement. Spanning the full arc of their careers—including the years before they met, their time as a couple, and Krasner’s life after Pollock’s death—this book features more than one hundred vivid paintings and works on paper. Krasner and Pollock: Past Continuous highlights the range and art-historical importance of Krasner’s work, evaluates Pollock’s significance anew, and considers the pair as artistic peers against the backdrop of the postwar United States. Essays revisit key periods in their creative trajectories, from their parallel emergence in the 1940s New York art scene to their later move to Long Island. The authors situate the artists within their historical context and trace important breakthroughs in their practices, such as Pollock’s exploration of the “drip” technique and Krasner’s turn to collage. Personal reflections from twenty-first-century artists attest to Krasner’s and Pollock’s ongoing legacies. For devotees of Krasner and Pollock and for readers encountering them for the first time, this book offers an illuminating portrait of the two artists.

Beauty and craftsmanship are hallmarks of midcentury Japanese American art and design. From Isamu Noguchi’s iconic furniture to Ruth Asawa’s inventive wire sculptures, Japanese American artists transformed the aesthetic landscape of postwar America. Yet beneath this artistry lies a shared history marked by forced relocation and incarceration during World War II. Confronting this difficult past, Noguchi to Asawa: Designing Postwar America offers a recontextualization of the work of influential twentieth-century artists and designers through the lens of 1940s Japanese American incarceration.

The six artists highlighted in this publication span two generations: those who established their practice before incarceration—sculptor and designer Isamu Noguchi, architect and furniture designer George Nakashima, and sculptor Leo Amino—and those who received early artistic training in the camps—graphic designer S. Neil Fujita, fiber artist and weaver Kay Sekimachi, and sculptor Ruth Asawa. Interviews with the artists’ children and grandchildren and a conversation with the sole surviving artist, Sekimachi, offer intimate insights into the artists’ lives and practices. Collectively, the works, essays, and reflections address the broader histories of Asian labor in the United States, the racialization of Japanese Americans, and critical themes of visibility versus invisibility.

There are different covers, but you can’t choose.

1. Natasha Lyonne in Valentino by Olivier Zahm

2. Best of the Season by Juergen Teller

3. Gigi Hadid in Miu Miu

4. Gigi Hadid in Bottega Veneta

5. Gigi Hadid in Dior

6. Annabelle Weatherly

7. Dior Cruise 2027 by Jeremy Everett

8. Bibi Breslin in Balenciaga

9. Louis Vuitton Cruise 2027

10. Precious Okoyomon

11. Loro Piana by Dougal McArthur

12. ArdAzAei by Olivier Zahm

13. Fendi by Takashi Homma

14. Judith Bernstein

15. Taller Marmo by Olivier Zahm

16. Alessandra Rich by Gwen Trannoy

17. Saint Laurent by Anthony Vaccarello

18. Robert Indiana

19. Bunker 77 by Jacques Marie Mage

20. Yoko Ono

GLEAN, Belgium’s leading contemporary art magazine, RendezVous Brussels, renowned for its annual celebration of the Brussels art scene, and MER. Books, known for its thoughtful publications, have combined their expertise in this guide featuring five carefully curated walks through Brussels’ finest art destinations.

From galleries and museums to local meeting places where artists gather, this guide takes you through vibrant neighbourhoods such as Molenbeek, Anderlecht, Ixelles, Sablon, Downtown, Forest and Saint-Gilles. Discover hidden gems, favourite cafés, bars and restaurants, enriched with recommendations from renowned artists as well as gallerists, curators, museum directors, art critics and cultural journalists. And who says Brussels is not a cycling city? The guide also includes carefully mapped cycling routes to help you explore even more of the city.

A must-have for anyone wishing to immerse themselves in the dynamic world of contemporary art and culture in Brussels.

Conceptualized as a dynamic platform for contemporary practices that span expansive forms, geographies and cultural traditions, this volume carries the process, core ideas and dialogue that have driven the organization of the 59th Carnegie International. Curated by Ryan Inouye, Danielle A. Jackson and Liz Park, this iteration of the International explores manifold ways of practicing art and recognizes that the worlds individuals build are both larger and more complex than the countries in which they reside. Featuring commissioned essays and conversations between participating artists and their interlocutors, the publication underscores the vibrant relationships and networks of practitioners. Central to the book are special commissions by artists who engage with the printed form as part of their practice, including Fe Avila, Maithili Bavkar, Priyesh Gothwal, Liz Johnson Artur, Shala Miller, Gabriela Pinilla and Walter Scott, among others.

Always to Return weaves together documentation of the exhibition with new scholarship by the exhibition’s curators, Josh T Franco and Charlotte Ickes, essays by Julie Ault, and Joshua Chambers-Letson, and archival texts that shape the conceptual foundation for the exhibition. This in-depth look at the artist’s relationship to portraiture and historiography provides  a new way into the practice of one the most significant artists of our time.

This publication is the most comprehensive publication on Ser Serpas’ work to date, Loogie traces the first decade of the artist’s multidisciplinary practice anti-chronologically, bringing together 650 illustrations alongside newly commissioned texts.

Following in O’Keeffe’s footsteps, Belgian/Spanish artist Isabel Miquel Arqués traveled to New York and New Mexico, from the city to the vast landscapes of Ghost Ranch. Her travel journal runs like a common thread throughout the book, weaving together personal impressions with quotations from O’Keeffe’s letters. Through her photography, Arqués explores themes such as nature, silence, light, and form. The result is a poetic interplay of word and image, in which the two artists meet across time and distance.

Her work unites multiple places and temporalities, reflecting both personal and universal dimensions of contemporary life and, in particular, the intricacies of the African diasporic identity. This first monograph on Akunyili Crosby brings together nearly fifty paintings, made from 2010 to 2023, that chart her methodical practice of layering painted representations of people, locales, and aspects of her own experiences with transferred images sourced from her personal collection, Nigerian publications, and other outlets. Akunyili Crosby reveals and revisits distinct realms, from lush gardens to domestic, interior worlds related to motherhood, family, marriage, the body, and personal identity.

New texts focus on a range of themes in Akunyili Crosby’s work, including her visual language and material practice, her mixing of Western and Nigerian imagery and forms, and her use of photography in portraiture and figuration.

Encompassing more than 1,200 individual entries, this first volume of Isa Genzken’s (born 1948) catalogue raisonné serves as the definitive scholarly resource on the artist’s early works, including her Ellipsoids, Hyperbolos, plastic sculptures and Basic Research paintings.

First published in 2007, this is the singular volume of the great painter’s work. This reformatted definitive volume is now published in a smaller and more accessible size. It includes not only Freud’s paintings but also his sketches, woodcuts, and powerful etchings. While the bulk of his paintings are female nudes, his cityscapes, plant studies, and interiors—executed in his distinctive muted palette and visible brushwork—are all presented. The corpus of great works reveals Freud to be the premier heir today of Rembrandt, Courbet, and Cézanne.

Freud’s importance has long been recognized in England, but his present super-celebrity status dates from a retrospective at the Hirshhorn in Washington, DC, in 1987. William Feaver, painter and for many years art critic for The Observer, provides a unique account of Freud’s preoccupations and achievement. This new edition includes Freud’s last unfinished portrait of David Dawson, the painter who worked with Freud for twenty-five years.

Alongside the images you’ll find:
• A personal email correspondence between the artist and fellow British painter Celia Paul
• An in-depth interview with Artistic Director Hans Ulrich Obrist
• Two newly-commissioned poems by Isabel Galleymore
• A poem by acclaimed American poet Mary Oliver

For more than five decades, Gabriele Stötzer (born 1953) has been grappling with questions of justice, gender and self-determination. Her own body often plays a central role in her work, figuring as a site of resistance and feminist self-assertion. After Wolf Biermann’s expatriation in 1976, Stötzer served a one-year prison sentence and then made a conscious decision to remain in the GDR. Many of her works formulate radical counter-concepts to state repression and control by pushing boundaries through experimentation and making space for vulnerability.
This volume accompanies the artist’s largest institutional solo exhibition to date. Featuring around 150 works, it highlights the diversity of her oeuvre, encompassing painting, literature, photography, textile art, Super 8 film, performance and public interventions, and intends to catalyze—with the aid of of scholarly texts and an interview with Stötzer—the broader recognition of this groundbreaking artist.

In About Looking he explores our role as observers to reveal new layers of meaning in what we see. How do the animals we look at in zoos remind us of a relationship between man and beast all but lost in the twentieth century? What is it about looking at war photographs that doubles their already potent violence? How do the nudes of Rodin betray the threats to his authority and potency posed by clay and flesh? And how does solitude inform the art of Giacometti?

In asking these and other questions, Berger alters the vision of anyone who reads his work.

This publication gives attention to roughly forty case studies, which inspire us to reimagine the world and our place in it. Each contribution dives into questions such as: How does acknowledging the queerness of nature inspire us to compose the world otherwise? How can we rewrite history to make a place for ourselves in the story? And what is the role of an individual in a symbiotic community? The arts, poetry, scientific and speculative writing spark this imagination, and give readers tools to shape the world differently.

Queer Flora, Fauna, and Funga asks to expand our knowledge about sexual and gender diversity, and to reconsider our relationships with each other and our more-than-human companions in the natural world.

This focus on sculpture deepened her interest in architecture, spatiality and the relationship with the human body, leading to installations, paintings, textile works, kimonos, functional objects and projects in public spaces that engage directly with their surroundings.

In ‘Antennae’, Mannaerts looks back on thirty years as an artist while also presenting new work. The title of the exhibition is telling. On the one hand, Mannaerts uses it to refer to the antennae with which insects sense their surroundings. At the same time, it functions as a metaphor for her own artistic sensitivity: a reference to the ‘antennas’ with which, as an artist, she establishes subtle and complex connections between her world, her work, the viewer and the exhibition space.

The publication ‘Antennae’ was published on the occasion of the solo exhibition of the same name at M Leuven. The exhibition serves as the backbone of this book and is reread through Mannaerts’ subjective gaze. In an associative interplay of archival material and sources of inspiration, an insight into her world and artistic sensibility unfolds. Images by the artist herself and Filip Dujardin are complemented by an essay by curator Valerie Verhack.

This book documents the exhibition and the thinking behind it, and includes essays by prominent voices such as cosmologist Thomas Hertog, human rights expert Manfred Nowak and evolutionary biologist Menno Schilthuizen.

‘Decades ago Venice shaped me as an artist. I felt the paradox of an island that looks like paradise but behaves like a laboratory. You can stay and be seduced by the surface, or you can break through it and discover what Venice is really made of: exchange, crossings, contamination.’
– Koen Vanmechelen

This richly illustrated book brings his oeuvre vividly back to life. Anne Adriaens-Pannier discusses drawings and paintings while also highlighting illustrations and lithographs. Spilliaert emerges as a fascinating link between the major artistic movements of his time. The most comprehensive book on Léon Spilliaert.

Before moving to New York in the 1920s and joining his contemporaries, including Jackson Pollock, Franz Kline, and Robert Motherwell, in the “New York School” movement, de Kooning was rigorously trained in draftsmanship at the Academy of Visual Arts and Technical Sciences, Rotterdam, where he achieved mastery of traditional techniques at a young age. Willem de Kooning Drawing features nearly 250 works from the early 1920s to the 1980s, revealing the centrality of drawing to all aspects of his practice. Essays by eminent and emerging scholars and curators approach de Kooning’s work from a variety of perspectives—from examining his concept of “the glimpse” to reinterpreting his representations of women—demonstrating the artist’s enduring resonance.

Distributed for the Art Institute of Chicago in association with the Rijksmuseum.

This stunning volume surveys the pioneering career of Cecily Brown (b. 1969), one of the most celebrated artists working in painting today. In particular, it explores her process through paintings and drawings that demonstrate both her radical contemporaneity and her keen reassessment of historical precedents such as old master paintings and abstract expressionism, which have been consistent hallmarks of her art. The book’s probing essays look at her practice, investigate the main themes that recur in Brown’s work, and consider her art from a feminist perspective. Brown reclaimed the heroic gestural expression often affiliated with the male artists of the abstract expressionist generation—largely out of favor with her peers—and in this mode she creates lush, dynamic paintings that often contain erotic content appropriated from art historical or pop culture sources. Moving between figuration and abstraction, Brown subverts gendered tropes in work that often deals with the power imbalances inherent in voyeurism and sexual violence.

For Gossage, to photograph is to ask one thing to become another kind of thing. Indeed, does a sculpture always need a pedestal or isolation to not just be another thing in the world? Whether a pile of archive folders, a dirty beaker, a heap of baseball caps, a plank of wood or a tuft of grass, he photographs these objects against the same background of white paper, their shadows often taking on as much presence as their concrete forms. With so much of the objects unclear (their volume, scale and weight, their three-dimensionality), and each having lost its original purpose or being about to die, how much has Gossage actually saved in his photographs: only his intentions? Is a good photograph always better than what it pictures—and how? This book is a dictionary because it describes the sculptures rather than being the sculptures: as every photograph does with everything.

Richly illustrated with 165 images representing the full breadth of the artist’s practice, including his films, videos, installations, photographs, and sculptures, this expansive publication includes Jafa’s most acclaimed works, such as the resounding Love is the Message, The Message is Death (2016) and the Golden Lion–winning The White Album (2018), as well as other impactful large-scale video and film installations and a range of sculptural and photographic objects.

In his early work as a cinematographer through his more recent video installations, Jafa has been gradually building a filmic language whose syncopations and textures match the aspirations of Black popular music. As part of this task, Jafa has built a staggering visual archive of images that cuts across histories and arenas of culture. This material is cut, collaged, montaged, and rearranged into ‘affective proximities’ that illuminate and unsettle the ways that race is communicated and experienced through contemporary media today.

Confrontational and deeply affecting, Jafa’s work turns an unflinching eye toward the darkness of the past while embodying and mirroring our contemporary obsession with mass images and ‘content.’ Through prolonged and thoughtful engagement with social media, internet culture, cinematic history, and popular music, Jafa wields an arsenal of images across his various working mediums, communicating both the realities and appearances of contemporary Black life, along with its mass consumption, through film, video, sculpture, photography, and large-scale installations. His acclaimed and resonant films have captured the collective imagination and experience of America amidst the nation’s growing awareness of the long history of institutional violence directed toward the Black community, placing this awakening against a backdrop of the century-long ascension of Black culture, music, and entertainment to the forefront of our national identity.

Accompanying a major solo exhibition at the New Museum in New York, the book includes an interview with Jafa by Massimiliano Gioni;  a roundtable discussion with Gary Carrion-Murayari, Ekow Eshun, Martine Syms, and Hamza Walker; and new contributions from preeminent scholars and writers, including Judith Butler, Mark Godfrey, J. Hoberman, Kara Keeling, Lawrence Rinder, and Simone White. Together, the exhibition and accompanying book will constitute the most comprehensive presentation, to date, of one of the most important and influential artists of this generation.

Quarter-bound with cloth, this volume compiles the complete paintings of Francis Bacon, the dissident darling of the 20th-century art world. Over a career spanning more than five decades, Bacon produced almost 500 paintings, including his signature diptychs and triptychs. Francis Bacon: Paintings charts his entire lifetime of radical artistry, from his early Surrealist experiments of the 1920s to the stark, elegiac works completed just before his death. It features over 700 high-quality reproductions that capture the vigor and detail of Bacon’s paintings. In lieu of lengthy essays, brief expository texts accompany select works, indexing the emergence of key formal and thematic developments in his practice. Also interspersed throughout are quotes from Bacon as well as from eminent friends, critics and admirers, such as Lucian Freud, Roald Dahl and Damien Hirst. Read together, the quotes animate a critical dialogue on the artist’s work and legacy. While Gilles Deleuze purported that Bacon was interested in “…a static or potential violence, a violence of reaction and expression,” the artist himself asserted, “I never look for violence…but life is violent; so much more violent than anything I can do!”
Emerging from a turbulent inner life and the devastation of World War II, the Irish British painter Francis Bacon (1909–92) created art that is both unsettling and hypnotic, repulsive and irresistible, earning him a reputation as a “master of the grotesque.” Eschewing the abstraction preferred in the mid-century, Bacon instead developed a quasi-realist style that rendered the human figure as warped and anguished.

For Kwade, science is not a conclusive system but a subjective construction—a temporary attempt to impose order on something that ultimately remains unknowable. Her work makes tangible the idea that it is precisely in not knowing that the imagination begins.

The catalogue is published in conjunction with the exhibition Dusty Die at M Leuven. With texts by Eva Wittocx, Ralph Collier, and Sylvia Wenmackers.

This lavishly produced volume explores Matisse’s lifelong reinvention of art through some fifty works, six extraordinary fold-out spreads, and illuminating essays.

Providing a unique opportunity to see Matisse’s work at a remarkable scale, this volume echoes the clarity, richness, and innovation of his art. Showcasing dozens of carefully reproduced paintings and cut-outs, the book offers a panoramic view of one of modern art’s most influential figures. Tracing Matisse’s development from early naturalist studies to the luminous intensity of Fauvism and the radical simplicity of his late paper cut-outs, it follows his evolving approach to form, color, and composition. Brief essays accompany approximately fifty emblematic works, offering new insight into the artist’s changing techniques and the contexts in which he worked. With colored edges, a printed cloth binding, and a design that reflects Matisse’s visual sensibility, the book is as visually compelling in its production as the works it presents. Six major compositions—including Joy of Life, The Red Studio, The Dance, and The Sorrows of the King—appear as expansive map-style fold-outs, allowing readers to savor their ambition and detail in unprecedented depth. A vivid and layered portrait, this volume invites close attention to the artistic choices that shaped a career of continual reinvention.

Joseph Kosuth is widely recognized as one of the foremost theorists and pioneers of Conceptualism. Since the mid-1960s, his research has radically transformed the way of understanding the artwork, interpreting it not as an object to be observed but rather as an idea to be questioned. Deeply influenced by the philosophy of Ludwig Wittgenstein and the lesson of Marcel Duchamp, Kosuth shifts the focus of art from image to language, juxtaposing everyday objects, photography, and texts to challenge the very meaning of things, since “An artwork is a linguistic proposition presented within the context of art as a comment on art”.

The volume opens with the critical essay Reading Art, Looking at Language signed by the curators Codognato and Rispoli, which reconstructs the theoretical evolution of the artist, precisely explaining the transition from art as representation to the pure form of presentation of thought. An unpublished conversation with Hans-Ulrich Obrist brings back Joseph Kosuth’s voice, offering itself as a valuable tool for insight into understanding the premises of his conceptual radicalism. To enrich the publication, the section focused on the Exhibition Views accompanies the reader through the rooms of the Casa dei Tre Oci. The iconographic material opens with the neon installation A Chain of Resemblance, specifically commissioned on the occasion of the exhibition, and then presents the artist’s historical works, starting from the famous Proto-Investigations series.

Heyvaert heeft een tot de verbeelding sprekend – maar veel te kort – leven geleid en pionierde in allerlei domeinen: architectuur, collagekunst, tekeningen, grafiek en de zogenaamde Mail Art waardoor het materiële en ruimtelijke een dialoog vormt met zijn nabije omgeving.

Persoonlijke brieven en geschriften werden doorheen de kunstenaar zijn carrière gepubliceerd in tal van toonaangevende literaire tijdschriften.

Kunstenaars-fotografen Tim Onderbeke en Julie Poisquet gaan nader in op René Heyvaerts nalatenschap. Zij hanteren in deze publicatie een uitgepuurde figuratieve sequentie, waarbij een dialoog ontstaat tussen hun foto’s en de architectuur en kunstwerken van René Heyvaert. De onuitgegeven brieven aan Kristien De Witte fungeren als het ware als een rode draad in het rijke verhaal die Heyvaert en zijn muze kenden.

Celebrated for his colorful, fantastical paintings, Paul Klee (1879–1940), a pioneer of modernism and expressionism, is regarded as one of the most influential artists of the twentieth century. Though he is remembered for the chromatic style of his most famous works, Klee’s late work reflects a dark and dramatic transformation, providing insight into the artist’s psychological landscape.

Forced to flee Nazi persecution in 1933, Klee faced final years that were marked by exile, illness, and political upheaval. Paul Klee: Other Possible Worlds takes the unsettling last decade of Klee’s life as its subject, arguing that he accepted his vulnerability as a strength—one that enabled him to develop a personal rebuff of fascism through a lexicon of abstraction. With 120 illustrations highlighting works from throughout Klee’s career, this catalog traces the evolution of his artistic practice and frames his late work in the context of his oeuvre. Essays by leading scholars and curators reexamine Klee’s legacy and the importance of his late masterpieces as an artistic defiance against oppression.

Published in association with the Jewish Museum, New York

Throughout his decades-long career, Raymond Pettibon (b. 1957) has remained deeply engaged with the world around him, whether through biting political satire of American geopolitics or poetic meditations on surfing and baseball. Pettibon’s aesthetic and political sensibilities originated in the punk scene that thrived in Southern California, the artist’s first home, in the late 1970s and 1980s—evidenced in his collaborations with bands such as the Minutemen, Sonic Youth, and Saccharine Trust. Among the most iconic works featured in this collection is Pettibon’s four-column logo design for Black Flag. His distinctive artwork appears on albums for a wide range of legendary musicians, including Iggy Pop, Foo Fighters, and Lana Del Rey, among many others.

Nervous Breakdown spotlights the artist’s enduring impact on the music industry, presenting for the first time every record, CD, and cassette cover since 1978 that features his artwork. Published on the occasion of an exhibition at the Wilhelm-Hack-Museum in Ludwigshafen, Germany,

Antony Gormley (°1950, Londen) is internationaal befaamd voor zijn sculpturen, installaties en werken in de openbare ruimte waarin hij de relatie tussen het menselijk lichaam en de ruimte onderzoekt. In zijn werk stelt hij fundamentele vragen over de rol van de mens in zijn relatie tot de natuur en de kosmos.

This book brings together essays by the renowned psychoanalyst and philosopher Julia Kristeva and art historians Nancy Spector and Sandhini Poddar, alongside an extensive interview with Ralph Rugoff, Director of the Hayward Gallery. Focusing on a key selection of Kapoor’s work from the past five decades, it traces the evolution of his strikingly visceral approach to sculpture and painting. The volume also includes installation photographs from the artist’s 2026 exhibition at the Hayward Gallery.

Het boek laat zien hoe Rotterdam in de jaren twintig – een snel groeiende havenstad vol culturele vernieuwing – de basis vormde voor De Koonings ontwikkeling. Zijn opleiding aan de academie en zijn werk bij ontwerpbureau Giddings & Zonen blijken van grote invloed op zijn latere kunstenaarschap.

Tegelijkertijd volgt de publicatie zijn aankomst in New York, waar hij als migrant een nieuw leven begon en uiteindelijk uitgroeide tot een van de grondleggers van het abstract expressionisme. Met bijdragen van Anne Kremers, Wim Pijbes en Ludo van Halem verbindt het boek kunstgeschiedenis, migratie en stedelijke ontwikkeling in een toegankelijk en rijk geïllustreerd verhaal.

Deze uitgave verschijnt in samenwerking met Fenix, het Rotterdamse museum over migratie, en sluit aan bij de herdenking van De Koonings vertrek uit Rotterdam en de tentoonstelling Willem de Kooning at Work in het Rijksmuseum.

It brings together new and insightful contributions from the fields of art history and literature to reflect on David Hockney’s monumental frieze A Year in Normandie (2020-21) and his latest series of paintings, created for his solo exhibition at Serpentine. Generously illustrated in colour throughout, it features essays by David Hockney; art historian and curator Marco Livingstone; and writer Olivia Laing; as well as an in-depth interview with Serpentine Artistic Director Hans Ulrich Obrist.

Alongside installation views of the exhibition at Serpentine North, all paintings in the exhibition are featured in detail, emphasising the artist’s sensitivity to colour and composition.

With works by : Faig Ahmed Diedrick Brackens Johannah Herr Jan Kath Alexandra Kehayoglou William Kentridge Baseera Khan Noelle Mason Otobong Nkanga Tobias Rehberger Erin M. Riley Tsherin Sherpa Rose Stach Nasan Tur Jeroen Van den Bogaert