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Seydou Keïta: A Tactile Lens

A comprehensive survey of a prolific photographer who fearlessly charts the dreams and dystopias of Mexico today. Ground Rules is the first comprehensive, fully bilingual survey charting the career of the prolific photographer Alejandro Cartagena. Celebrated for his photobooks Carpoolers (2014) and A Small Guide to Homeownership (2020), Cartagena is known for his formally engaging and socially incisive images that span the politics of the US-Mexico border, suburban sprawl, and the increasing wealth disparities in North America. Ground Rules deploys a diverse array of photographic formats, from documentary and collage to the appropriation of vernacular photographs and AI-generated imagery, all unified by Cartagena's commitment to addressing Mexico's most pressing social and environmental issues with humor and pathos. Published to coincide with a mid-career solo exhibition at San Francisco Museum of Modern Art, on view from November 2025 through May 2026.

Alejandro Cartagena: Ground Rules

Combining photomontage with portraiture and scenes of Hmong American communities, Her mixes the real with the artificial in search of a diasporic identityRooted in the experience of her Hmong community and shaped by family lore passed down by her elders, Pao Houa Her (born 1982) investigates the potential of photography to create nonlinear narratives exploring construction. She brings together formal and vernacular photographic languages manipulated into light boxes, wheat-pasted images and videos. Her's adoptive homes of Minnesota and California become stand-ins for Laos; plastic florals replace living tropics; ersatz and real meld together. The Imaginative Landscape traces Her's ever-deepening exploration into concepts of home and belonging. With essays and an artist interview, this catalog explores Her's work in genres of portraiture, landscape, still life and the vernacular, as she photographs herself and the people and places around her through the tinted lens of diasporic longing. This book was published in association with San José Museum of Art.

Pao Houa Her: The Imaginative Landscape

From a widely celebrated artist, this dazzling book takes readers on a profound journey into the heart of creativity &nbsp; When Makoto Fujimura painted as a child, he felt a mysterious electrical charge pass through him. Over decades of art making, writing, and reflecting in his studio, he has come to understand this charge as his Creator—a source he connects with most profoundly when making art. To be human is to be creative, Fujimura believes, and art making is a discipline of awareness, prayer, and praise by which we journey back to our original light. &nbsp; In this book, Fujimura takes readers along on his meandering journey as an artist. We witness him making his “process-driven slow art”—using pulverized minerals, gold, or pigments made from oyster shell—as he considers the plants and wildlife on the land where he lives. He draws on Japanese aesthetics, modernist art, Christian theology, sado (art of tea), literature, ecology, and personal narrative, with inspiration ranging from William Blake’s poetry to the art of Mark Rothko and Josef Albers, and from the wisdom of Scripture and Japanese tea master Sen no Rikyū to the traditional Japanese painting technique called Nihonga. &nbsp; Bringing together the author’s written reflections and his paintings, drawings, and photographs, Art Is invites us to see the world in prismatic and diverse lights, helping us navigate the fractured, divisive times we live in.

A Journey into the Light

Art Is

Cultural Capital Doesn’t Pay the Rent is a story about loss, economic survival, and three decades of organizing against the interlocking hellscapes of neoliberalism. Jessica Lawless’s memoir is a queer, anarcho-punk history of community care and healing justice.
An original member of Home Alive, the Seattle-based, feminist self-defense collective founded as a response to the unsolved rape and murder of a beloved friend, Lawless takes the reader into subcultural spaces of the 1980s and '90s where anticapitalist concepts of race, gender, and sexuality were developing against the backdrop of the Christian right’s early culture wars.
Digging into their personal archive of pre-internet flyers, meeting notes, zines, photos, newsletters, exhibition announcements, journals, and funeral programs, Lawless explores the somatic impacts of remembering and forgetting. Her attempts to leave violence in the past lead her to the institutional violence of academia, the absurdity of the Los Angeles art world, the crushing poverty of cyclical subemployment as an adjunct professor, and the heartbreak of working in the labor movement.
Reflecting on the past while entering menopause, Lawless crafts a narrative that twists and turns along a winding path, continually rejecting normative conclusions. Cultural Capital Doesn’t Pay the Rent is a moving account of abolitionist feminist resistance that will inspire anyone who’s experienced the hopes and hypocrisies of leftist activism.

A Queer Memoir

Cultural Capital Doesn't Pay the Rent

“In the best modernist tradition, [Deschenes] pushes against the basic terms by which photography is conventionally defined: instantaneity, veracity, fixity, or reproducibility.” — curator and critic Matthew WitkovskyDeschenes uses durational photogram exposure to create unique, shifting surfaces that frequently function as sculptural or architectural, rather than photographic, objects. In her recent work, Deschenes exposes photographic paper to the night sky, develops it, and fixes the photogram with silver toner, creating misty silver surfaces brindled with slight changes in hue that are affected either by exposure to ambient light or the hand-application of the toner itself. Some of these photograms remain unframed and oxidize over time, further problematizing the role of the photograph as fixed image on surface. Instead, purged of representational content, the photograph, in Deschenes’s practice, functions as an object that records how it has been, and continues to be, acted upon.Deschenes’ work is held in the permanent collections of Centre Pompidou, Paris; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; Walker Art Center, Minneapolis; Art Institute of Chicago; ICA/Boston; Pinault Collection, Paris; Montreal Museum of Fine Arts; Milwaukee Art Museum; Princeton University Art Museum; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.

Liz Deschenes

Jim Marshall took over ten thousand photos of the Grateful Dead throughout their career?from Woodstock to the last free concert on Haight Street and beyond. Marshall's magnificent images chronicle the band's trajectory as hairstyles changed, relationships came and went, and the music evolved into the sound that would become beloved by generations to come.

Photos and Stories from the Formative Years, 1966–1977

The Grateful Dead by Jim Marshall

One of the most popular photographers on the planet recounts his life and art By the age of 14, I decided I would be a photographer. 'It's what I will do for the rest of my life, until I drop dead.' I knew when I was very young. It was a definite decision. Don't ask me why. I just knew it was the right thing. When Martin Parr was fourteen, his teacher wrote that he was 'utterly lazy and inattentive' in a school report. He went on to become one of the most successful and sought-after photographers in the world. Martin has published over one hundred photobooks on many different subjects, from seaside resorts to smoking, over his career. Now, for the first and only time, Martin has produced a book about himself, telling his own story, in his own words. This autobiography combines over 150 of Martin's photographs - from his earliest snapshots to the work he is doing today - with his recollections and reflections on each image. We meet a boy growing up in suburbia, who collects obsessively and notices everything. We see him exploding into the public consciousness in the late eighties with a series of startling, ultra-saturated colour images of the British seaside - and scandalising the photography establishment in the process. We see society changing over the decades, from the demise of steam trains, through the opening of the first McDonald's in Moscow, to the transformations of the post-pandemic world. As Martin shares his story, his distinctive voice delicately captured by his friend, the writer Wendy Jones, he also reveals his approach to work and commissions; his tricks for gaining access and getting the shot; and he divulges his particular passions: for crowds and queues, fetes and placards, bad weather on beaches, and more. This is the definitive account of a great photographer's career, curating the work that has defined his life. By looking at the world through his eyes and his lens, we come away seeing Martin Parr - and ourselves - a little differently.

Martin Parr in Words and Pictures

Utterly Lazy and Inattentive

The Lost Era of Club Fighting

Shadow Boxers

The first major biography on artist Louise Bourgeois brings the life and work of an iconic twentieth-century artist into sharp focus &nbsp; Louise Bourgeois (1911–2010) was one of the most important artists of the twentieth century. She is known for a body of work that spans sculpture, painting, and printmaking but eludes any aesthetic classification. Her life and art were so intertwined that it is often difficult to tell them apart. In her own words: “Sculpture is the body. My body is the sculpture.” &nbsp; Marie-Laure Bernadac’s biography of Bourgeois traces the career of a great artist, her training, and her influences, as it tells the story of an exceptional woman’s life. Featuring personal photographs as well as reproductions of her work, this landmark publication is the first major biography to draw on the artist’s unpublished personal archives, including diaries, correspondence, and psychoanalytic writings, as well as the many interviews she gave and the reminiscences of those who knew her. Bernadac elucidates Bourgeois’s friendships and rivalries with other major figures, including sculptor Louise Nevelson and Museum of Modern Art director Alfred H. Barr Jr. She also draws on Bourgeois’s well-known fascination with psychoanalysis to explore the deeply autobiographical nature of her artwork. This erudite and keenly insightful biography pays tribute to the talent of the artist and the complexity of the person.

The Life of Louise Bourgeois

Knife-Woman

A showcase of innovative new photo-based work by an acclaimed contemporary artist &nbsp; While best known for large-scale ephemeral installations, performances, and public projects, Ann Hamilton (b. 1956) has regularly explored photography throughout her four-decade career. Over the past ten years, photography has become an increasingly important aspect of her practice, with scanning as the dominant medium in several recent projects, including her most recent photo-based series, still and moving • the tacile image. The work, featured in this volume, was created from 2021 to 2025 in response to small-scale figural sculptures in the collection of the Cleveland Museum of Art. Hamilton’s images focus on the glance, the fragment, and the gesture—elements that imbue the sculptures with movement and expression—and return time to her still subjects. &nbsp; A visual essay by Hamilton connects related compositions in a format recalling a filmstrip that hints at, but never supplies, a narrative. The images are interspersed with fragments of found text and scans of fabric that recall curtains drawn between acts and recall the prevalence of drapery in depictions of the human figure. The visual essay is followed by a scholarly essay by Barbara Tannenbaum that sets Hamilton’s new work in the context of the artist’s career-long practice of photography. It discusses the ways that, for Hamilton, the processes used and the experience of making an artwork are essential components of its meaning. &nbsp; Distributed for the Cleveland Museum of Art &nbsp; Exhibition Schedule: &nbsp; Cleveland Museum of Art (December 14, 2025–March 29, 2026)

still and moving • the tactile image

Ann Hamilton

The vibrant capital of South Korea, Seoul is a city of contrasts, a unique blend of tradition and modernity, with futuristic skyscrapers blending with traditional, ancient architecture. But at night is when the city really shines. As the sun sets, the city transforms into a dazzling metropolis. The skyline lights up and the bustling streets come alive with bright neon lights, street food vendors, and late night shoppers.&nbsp;Photographer Bal Bhatla - better known online as Mr Whisper - has been traveling to Seoul for years, capturing the photographs in Seoul After Dark, armed only with his camera and a keen eye for detail. A specialist in low-light photography, Bhatla captures the everyday moments of Seoul in a unique and compelling way, showing the city's residents, adventurous and carefree, chasing the night.&nbsp;Whether you're a lover of photography, a fan of Seoul, or simply someone who appreciates the beauty of everyday moments, Seoul After Dark will leave you with a newfound appreciation for your city after dark.

Seoul After Dark

Modern Artists and the Quest to End Art

How to Be Avant-Garde

Seydou Keïta: A Tactile Lens

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