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Katalin Harangozo et al: Habitat

Habitat

A Dialogue between Humanity and Nature

Blazing Light&nbsp;is&nbsp;published to coincide with Mimi Plumb’s first solo museum exhibition of the same name (High Museum of Art, Atlanta, Georgia) and brings together three of her major bodies of work—The White Sky, Landfall and The Golden City,&nbsp;and&nbsp;The Reservoir—that collectively contemplate the anxieties of American life in the waning years of the Cold War and its aftermath. In the 1970s, Plumb began photographing as a teenager in the San Francisco suburb of Walnut Creek at a time marked by rapid development of the land coupled with global political and economic instability. Her early artistic life was defined by a burgeoning awareness of global warming, the AIDS epidemic, violent conflict in Latin America and the Middle East, and a looming threat of nuclear war. This atmosphere attuned Plumb to the evidence of such forces in the land, the built environment, and the ways people carry themselves and relate to one another—concerns that continue to abide in her work to this day. Plumb’s photographs foreground the presence of people, lending her images a greater degree of pathos and even notes of humorous absurdity. Though the artist embraces realism, her photographs are more ambient and enigmatic, inviting conjecture rather than providing documentary information. The publication will include texts by Gregory Harris, curator of the exhibition; Karen Irvine, chief curator and deputy director at the Museum of Contemporary Photography, Chicago, IL; and Lauren Richman, curator of photography at the Norton Museum of Art, West Palm Beach, FL. Plumb's work is held in numerous public collections, including the High Museum of Art (GA), San Francisco Museum of Modern Art (CA), Los Angeles County Museum of Art (CA), Museum of Fine Arts Boston (MA), Yale University Art Gallery (CT), and the Deutsche Börse Collection (Germany). The&nbsp;Mimi Plumb: Blazing Light&nbsp;exhibition will be on view at the High Museum of Art from February 6-May 5, 2026. The exhibition will then travel to the Johnson Museum at Cornell University, NY (summer 2026), the Norton Museum of Art in West Palm Beach, FL (winter 2026/2027), followed by the Museum of Contemporary Photography in Chicago, IL (spring 2027).

Mimi Plumb: Blazing Light

An Artist in Changing Seasons

Constable's Year

The first monographic study of American artist Alison Knowles, a significant yet overlooked cofounder of the Fluxus movement. Alison Knowles stands out as the sole female artist among the founders of Fluxus, yet she has remained an enigmatic, underrecognized figure in the history of art. Performing Chance fills a gap in the record, bringing to light Knowles's transformative body of work as it evolved from abstract painting in the late 1950s, to silkscreens, print media, and performance in the early 1960s, to groundbreaking works in digital poetry, acoustical art, and large-scale installations in the late 1960s-70s. Through her access to previously unpublished archival materials and direct interviews with the artist, Nicole L. Woods provides close readings of pivotal works, disclosing the ways Knowles instituted formal tactics that moved beyond modernist painting, championed principles of indeterminacy and chance, and fostered sociopolitical consciousness. Situating Knowles's innovations in various media within the distinct cultural contexts of Wiesbaden, London, Paris, New York City, and Los Angeles, Performing Chance brings this key artist back to her rightful place as a leader of the postwar avant-garde and provides a nuanced history of the role of women artists in Fluxus and beyond.

The Art of Alison Knowles In/Out of Fluxus

Performing Chance

Published to coincide with an exhibition of the same name, Black Gold showcases recent and newly commissioned artworks reflecting on the resilience, struggles, and triumphs of African Americans who lived in California during its early statehood, from the Gold Rush in 1848 to the Reconstruction era.The project highlights figures and events often omitted from California's history, including the presence of slavery and the struggle for legal rights within this "free" state, the successes of Black entrepreneurs, and the experiences of the African American army regiments known as the Buffalo Soldiers.Black Gold brings together an essay by the exhibitions curator, Cheryl Haines; an artist roundtable discussion moderated by Key Jo Lee, chief of curatorial affairs and public programs, Museum of the African Diaspora, San Francisco, CA; new and archival materials addressing California's hidden history of slavery and anti-Black legislation; and texts detailing the contributions of each of the exhibitions artists—including&nbsp;Akea Brionne, Demetri Broxton, Adrian L. Burrell, the artists of Creativity Explored, Adam Davis, Cheryl Derricotte, Carla Edwards, Mildred Howard, Sir Isaac Julien CBE, Tiff Massey, Umar Rashid, Trina Michelle Robinson, Alison Saar, Yinka Shonibare CBE, Bryan Keith Thomas, Cosmo Whyte, and Hank Willis Thomas.Led by the FOR-SITE Foundation, Black Gold will be on view at San Francisco's historic Fort Point from June 4-November 1, 2025.

Black Gold

A collaboration between Jess T. Dugan (photographer of To Survive On This Shore) and curator Charlotte Cotton, Love Pictures centers around conversations about themes informing Dugan’s practice, including gender and identity, family and politics, writing and language, relationships and community, the book as object, and the dynamics of the exhibition space. These initial dialogues then prompted subsequent conversations with others in Dugan’s and Cotton’s respective communities: friends, colleagues, mentors, and subjects of Dugan’s work—including Dawoud Bey, Kelli Connell, Dorothy Moss, and Catherine Opie, among others. Transcriptions of these intimate and in-depth exchanges are woven with the first comprehensive survey of Dugan’s work in book form. Dugan's work is in the permanent collections of over sixty museums, including the Denver Art Museum, Getty Research Institute, Harvard Art Museums, International Center of Photography, Leslie/Lohman Museum of Gay and Lesbian Art, Minneapolis Institute of Art, Museum of Fine Arts Boston, Museum of Fine Arts Houston, Nelson-Atkins Museum of Art, National Gallery of Art, and San Francisco Museum of Modern Art.

Jess T. Dugan and Charlotte Cotton: Love Pictures

A fascinating biography of the philanthropist Albert Barnes, whose pioneering collection of modern art was meant to transform America’s soulFrom prominent critic and biographer Blake Gopnik comes a compelling new portrait of America’s first great collector of modern art, Albert Coombs Barnes. Raised in a Philadelphia slum shortly after the Civil War, Barnes rose to earn a medical degree and then made a fortune from a pioneering antiseptic treatment for newborns. Never losing sight of the working-class neighbors of his youth, Barnes&nbsp;became a ruthless advocate for their rights and needs. His vast art collection—181 Renoirs, 69 Cézannes, 59 Matisses, 46 Picassos—was dedicated to enriching their cultural lives. A miner was more likely to get access than a mine owner.Gopnik’s meticulous research reveals Barnes as a fierce advocate for the egalitarian ideals of his era’s progressive movement. But while his friends in the movement worked to reshape American society, Barnes wanted to transform the nation’s aesthetic life, taking art out of the hands of the elite and making it available to the average American.The Maverick’s Museum&nbsp;offers a vivid picture of one of America’s great eccentrics. The sheer ferocity of Barnes’s democratic ambitions left him with more enemies than allies among people of all classes, but for a circle of intimates, he was a model of intelligence, generosity, and loyalty. In this compelling portrait, Gopnik reveals a life shaped by contradictions, one that left a lasting impact.

Albert Barnes and His American Dream

The Maverick's Museum

A Life of Peter Hujar and Paul Thek

The Wonderful World that Almost Was

Unlike botanical art books that only focus only on painting techniques, and botany books that do not take account of the artist's method, Watercolour Botanical Art balances both botany information and the painting practice used to depict it. The intended reader is any artist who wishes to be more informed about botany; who needs to tackle the challenges of painting complex and particular botanical structures; who wants to learn what to look out for; and discover variations and morphological parts that are not obvious. Part One focuses on botanical forms and considerations. Each entry in the directory of morphological terms will include: Diagrams and text describing the plant morphology Artists' Considerations: a checklist to follow when examining a plant Paintings from celebrated botanical artists Part Two focuses on practical considerations for artists describing painting techniques in step-by-step detail. This section also includes practical tips for working outdoors, visiting plant collections, and collecting or photographing plant specimens for study.

A Botanical Guide for Artists

RHS Watercolour Botanical Art

Unheard Reciprocity, Resonant Relationality, and Aural Confluence

Sonic Perspectives from the Global Souths

This book is a blueprint for artists looking to engage with activist movements with a persistent longevity and a reminder that art has the power to be more dangerous than words.
Front Lines: A Lifetime of Drawing Resistance is Susan Simensky Bietila's story of her six decades as a movement artist and activist and a lifetime of artistic collaborations rooted in her activist experience. Growing up during McCarthyism, she rejected the nationalist masculinity of elite art and conformist culture and found feminism and collectivism as new forms of resistance. She became an artist in the New Left, creating illustrations for radical underground publications including RAT, Subterranean News, and comics for the anarchic World War 3 Illustrated.
With more than one hundred images, Front Lines documents her art on the page and in action featuring protest banners and giant puppets of birds and fish carried in the streets, masks of notorious dictators for street theater, posters pasted on walls and hung in radical spaces, community art builds, and more. Visual storytelling and detailed captions contextualize and bring to life her work with movements including antiwar protests during the Viet Nam era, Indigenous led antimine and antipipeline struggles, water protection, immigrant rights, anticorporate globalization convening, protests against the state and capital, Palestinian liberation actions, and collaborations with groups throughout the Great Lakes region and beyond. She agitates from the roots and the front lines to this day.

A Lifetime of Drawing Resistance

Front Lines

Mark Klett and William L. Fox: Marshall Islands

Scholars and contemporary artists reckon with decommissioned monuments, examining fraught narratives of the legacy of the Civil War and slavery as well as national identity in the United StatesThis volume features a selection of decommissioned monuments, many of them Confederate, presented alongside contemporary artworks that address American history and national identity. MONUMENTS, which accompanies the eponymous exhibition, marks the last several years of monument removals as a historic moment and aims to build a better understanding of our shared history and ideals, while holding the monuments accountable to the present. Featuring contributions by the exhibition curators, Bennett Simpson, Hamza Walker and Kara Walker, as well as scholars, poets and artists, the publication attends to the social, political, historical and art historical context of these monuments as well as the legacies of the people and events they commemorate. It includes additional essays by Sven Beckert, Emily Bingham, Thomas J. Brown, Karen Cox, Hilary N. Green, Grace Elizabeth Hale, Michael Lobel, Dani R. Merriman, Charmaine A. Nelson, Michael Ralph, Kirk Savage, Cherise Smith, Tsione Wolde-Michael and Dell Upton, and contributions by Derrick Austin, Mark Thomas Gibson, David Hartt, Ashley M. Jones, Melissa Lyttle and Kiki Petrosino. Artists include: Bethany Collins, Karon Davis, Abigail DeVille, Stan Douglas, Leonardo Drew, Torkwase Dyson, Kevin Jerome Everson, Nona Faustine, Jon Henry, Kahlil Robert Irving, Monument Lab, Walter Price, Martin Puryear, Andres Serrano, Cauleen Smith, Hank Willis Thomas, Davone Tines, Kara Walker. This book was published in association with The Museum of Contemporary Art, Los Angeles; The Brick.

MONUMENTS

Habitat

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