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2wenty-5ive

Arts of Life 2000-2025

This third and final volume in the Black Artists in America series features work from the transitional moment of the late 1970s to the dawn of the twenty-first century &nbsp; In the 1980s and 1990s, Black artists in the United States who came of age during the civil rights activity of the preceding decades began experimenting with new media and innovative approaches to artmaking, often as a way of questioning long-held inequities in the art world and in American society. Artists such as Jean-Michel Basquiat, Romare Bearden, Elizabeth Catlett, Sam Gilliam, Glenn Ligon, Faith Ringgold, Kara Walker, Carrie Mae Weems, and many others created works that celebrated their racial identity and fought exclusion and prejudices in the establishment. This book considers the ways that the artists of this generation challenged cultural, environmental, political, racial, and social issues of the last decades of the twentieth century. &nbsp; Black Artists in America: From the Bicentennial to September 11 is the final volume in the three-volume series that traces how Black artists have responded to the social issues of their time. Beautifully illustrated with 150 paintings, sculptures, and works on paper, this volume completes the story of a century of artmaking. &nbsp; Published in association with the Dixon Gallery and Gardens &nbsp; Exhibition Schedule: &nbsp; Crocker Art Museum, Sacramento, CA (October 5, 2025–January 11, 2026) &nbsp; Dixon Gallery and Gardens, Memphis, TN (January 25–March 29, 2026)

From the Bicentennial to September 11

Black Artists in America

Menil Drawing Institute Series

Television and video’s influence on drawing practices and the ways they inspired new modes of graphic expression in the twentieth century &nbsp; From the late 1950s to the 1980s, a period known as the network era, television reached its apex as a cultural force in the home, and portable video cameras became widely available. Examining how this new technology spurred artistic experimentation, this study considers the relationship between drawing and art made for the small screen of the domestic television set and early video cameras. These electronic screens entered artists’ studios for the first time and became a new source of imagery and a device that could be manipulated to generate entirely new kinds of drawing. An essay by Anna Lovatt looks at the ways in which early television and video images—captured, transmitted, and displayed through raster lines—inspired new possibilities for abstraction and expressing concepts of self-reflection and surveillance, while Kelly Montana explores artworks made by women who used the immediacy and familiarity of drawing to disrupt objectifying media representations of their gender by recording themselves drawing, often on their own bodies. &nbsp; This copiously illustrated volume features drawings, film stills, videos, and multimedia installations by more than twenty artists both well-known and heretofore obscure, and includes discussions of the televisual imagery that permeates works on paper by Walter de Maria, the ways artists such as Anna Bella Geiger and Dennis Oppenheim used video to capture performative acts of drawing, and how Nam June Paik and Howardena Pindell treated the screen as a site of inscription. &nbsp; Distributed for the Menil Collection &nbsp; Exhibition Schedule: &nbsp; The Menil Collection, Houston, TX (October 3, 2025–February 6, 2026)

Drawing at the Advent of Television and Video

Lines of Resolution

How artists created fictionalized identities to realize works that resisted political overreach and art historical conventions. This book explores how a group of real California artists created imaginary artists, engaging with the political climate of the Cold War era and frustrating the discipline of art history. They employed pseudonymity, obfuscation, anonymity, (auto)biografiction, imaginary portraiture, heteronymity, role-playing, doubling, and alter ego. Often laced with humor, these exploits facilitated stylistic experimentation, provoking reactions from art viewers and governing authorities alike, and disrupting reliance on documentation and attribution within art history. In the 1950s and early 1960s, Ed Kienholz, Walter Hopps, Robert Alexander, Wally Hedrick, George Herms, and Wallace Berman activated imagined and secret identities, provoking reactions within a conservative environment gripped by communist paranoia. As political concerns shifted in the 1960s and 1970s to movements for peace and equality, artists including Billy Al Bengston, Ed Ruscha, Joe Goode, Lynda Benglis, Larry Bell, Judy Chicago, and Eleanor Antin redirected these tactics to probe the rise of celebrity culture and the administrative state. These practices also became the precursor for later interventions by Bruce Conner, Asco, Allen Ruppersberg, Senga Nengudi, and others. Considering a compelling range of visual material, including paintings, sculptures, and performed intrusions as well as publications, postcards, and advertisements, Monica Steinberg examines why these imaginary artists appeared when and where they did--and to what ends.

Lives of the Imaginary Artists in Cold War California

A striking collection of French tapestries, from the 1940s to today, from the collection of the Mobilier nationale, Paris

Modern French Tapestry from the Mobilier national, Paris

Wall Power!

Ground/work 2025

An expansive consideration of the creative output of a unique twentieth-century master that brings a fresh perspective to his enigmatic and enduring work &nbsp; M. C. Escher (1898–1972) was born in the Netherlands and is known internationally for his self-described “mental images” that connect to mathematics and various branches of science. Considered a one-man art movement, he remained outside of the art establishment and is treasured today for his mind-bending works. His imagery explores the relationships between art and science, order and disorder, and logic and irrationality, and presents complex orchestrations of multidimensional alternate realities. &nbsp; Drawing from the Michael S. Sachs collection—the most extensive Escher holdings in the world—this overview of the artist’s work features more than five hundred objects, including prints, drawings, watercolors, printed fabrics, constructed objects, wood and linoleum blocks, lithographic stones, sketchbooks, and the artist’s working tools. Offering new insights into Escher’s iconic and idiosyncratic work, scholarly essays discuss the artist’s background and creative practice, examine the mathematical underpinnings of his use of geometric models, and ponder the ways his meticulously crafted images are filled with the element of wonder. &nbsp; Distributed for the Museum of Fine Arts, Houston

The Art of M. C. Escher from the Michael S. Sachs Collection

Virtual Realities

Routledge History of Photography

By entering and critically re-activating the Zionist photographic archive established by the Division of Journalism and Propaganda of the Jewish National Fund, this research examines its rippling impact on civil landscapes prior to 1948 in Palestine, and its lasting impact on the region to date.

Pre-State Photographic Archives and the Zionist Movement

A celebration of contemporary Native American art featuring work by artists from the nations of the Great Lakes original people &nbsp; Featuring both established and emerging Native American artists from Michigan and beyond, this book celebrates the art of the Great Lakes region’s original people. The artists whose work is showcased in this book include sculptors Edmonia Lewis (Ojibwe) and Jason Quigno (Saginaw Chippewa), black ash and fiber artist Kelly Church (Potawatomi/Odawa, Match-E-Be-Nash-She-Wish Nation), and multimedia artists George Morrison (Chippewa, Grand Potage Band) and Jim Denomie (Chippewa, Lac Courte Oreilles Band). Beautifully photographed, the baskets, beadwork, ceramics, clothing, film, graphic art, jewelry, painting, photography, sculpture, woodwork, and works in birchbark demonstrate the breadth of Anishinaabe artistic practice. The book’s essays consider how these artists have responded to changes affecting their communities, from climate change to cultural shifts. &nbsp; Distributed for the Detroit Institute of Arts &nbsp; Exhibition Schedule: &nbsp; Detroit Institute of Arts (September 28, 2025–April 5, 2026)

A Continuation

Contemporary Anishinaabe Art

Tracy Hills is a collaboration between LA-based photographers Ryan McIntosh and Yogan Muller in which they explore and document Tracy Hills—a new master-planned community of 4,700 homes being built near the town of Tracy, in the central valley of California. While the project revisits some of the tropes of the New Topographics era, the work underscores the distinctly twenty-first-century ecological issues that the anachronistic nature of this kind of community seems to deny—unpredictable access to water, elevated heat, wildlife risk, and unsustainable development. The shared concern that prompted the two photographers to begin documenting this community was not unfounded. A few months after they thought the project was finished, the Corral wildfire swept through the area surrounding Tracy Hills, the aftermath of which they returned to capture. The book brings together images from both photographers, each working in their own distinct style and format, from the community before and after that devastating, but unsurprising, event. Yogan Muller's work appears in the collections of Galerie Été 78 (Brussels), BnF (Paris), and the Obscura Museum (Metaverse).

Ryan McIntosh and Yogan Muller: Tracy Hills

Honor Song is published to coincide with the first major retrospective exhibition of the artist Hock E Aye Vi Edgar Heap of Birds, known internationally for his conceptual artwork—colorful text-based prints, drawings, paintings, sculptures, and public interventions—that addresses Indigenous rights, sovereignty, and relationships to place. Organized with the artist, the book spans more than four decades of his making, tracing Heap of Birds’ trajectory from the 1970s to the present through prints, drawings, abstract paintings, blown-glass vessels, and public sculptures. The publication includes texts by exhibition co-curators Pablo N. Barrera (Wixáritari) and Anna Vittoria Pickett, David Levi Strauss, Suzan Shown Harjo (Cheyenne and Arapaho Nation/ Hotvlkvlke Mvskokvlke, Nuyakv), Kiona Millirons, and Shanna Ketchum-Heap of Birds (Navajo Nation). The work of Edgar Heap of Birds is housed in numerous public collections worldwide, including Art Basel U.S. Corp. (NY), the Center for Exploratory and Perceptual Art Gallery (NY), FORGE Project Collection (NY, Unceded lands of the Moh-He-Con-Nuck), Museum of Modern Art (NY), Walker Art Center (MN), and Whitney Museum of American Art (NY). Exhibition dates: January 30–October 20, 2025 | Mary LeFlore Clements Oklahoma Gallery February 20–August 4, 2025 | Eleanor Kirkpatrick Main Gallery Opening April 24, 2025 | Campbell Art Park

Hock E Aye Vi Edgar Heap of Birds: Honor Song

Then And Now

Texas Then and Now features the most prominent locations from around the state, comparing vintage photographs with modern views of the same scenes today.

Texas Then and Now

An illuminating examination of the interconnectivity of women artists and activists in Great Britain from the Victorian era through the Second World War

Women Artist-Activists in Britain, 1880-1945

A Room of Her Own

2wenty-5ive

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