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Chéroux C: Henri Cartier-Bresson

Henri Cartier-Bresson

Here and Now

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

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

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.

One of the greatest bands of all time and one of the greatest music photographers in history meet in this incredible visual archive featuring exclusive never-before-seen photos.

Photos and Stories from the Formative Years, 1966–1977

The Grateful Dead by Jim Marshall

Spirit of the Great Bear

The first English-language volume of Takuma Nakahira's influential writings on photography. Takuma Nakahira was a crucial figure within the history of Japanese photography, best known outside of Japan as a founding member of Provoke, the experimental magazine of photographs, essays, and poetry, first published in Tokyo in 1968. Through Provoke, Nakahira deepened his artistic and personal connection to Daido Moriyama, with whom he developed a signature style of harsh and grainy black-and-white photography. He would eventually break with this style, and over the course of his decades-long career, maintain an experimental approach to photography. And yet, beyond his photographic practice, Nakahira was also a committed critic, writing on a range of topics hardly limited to photography: art, film, journalism, radical politics, television, and jazz. As a whole, the essays offer insight into the evolution of Nakahira's thinking. As the curator Matthew S. Witkovsky notes, "Nakahira's incisive writing cut apart standing views in literature, film, politics, and especially photography, and he published both articles and photographs at a feverish rate."

Selected writings by Takuma Nakahira

Takuma Nakahira: At the Limits of the Gaze

The story of photographer Edward Steichen’s deep connections to the natural world, from how it influenced his artistic practice to his award-winning garden &nbsp; In a 1937 article titled “Millions of Gardeners,” Life magazine published “Mr. Steichen . . . is known among photographers as one of the greatest portraitists clicking a shutter today. He is known among horticulturists as one of the greatest breeders of delphiniums who ever called the gods’ wrath down on a burrowing star-nosed mole.” For over sixty years, the pioneering American photographer Edward Steichen spent most of his spare time—and money—nurturing plants and gardens. It was an activity that sustained and inspired him, and through which he developed ardently held intellectual precepts regarding the interrelationship of creativity, nature, and art. Edward Steichen and the Garden explores Steichen’s artistic practice and his engagement with nature, gardening, and plant breeding, bringing to light the many ways in which the two pursuits were closely allied. The book’s abundant illustrations feature paintings and photographs by Steichen and fellow artists who painted in his garden, including Arthur B. Carles, John Marin, Katharine Knowles, and Marion Beckett. A selection of archival material such as family snapshots and awards for his delphiniums offers an intimate perspective on Steichen’s devotion to nature and his garden. &nbsp; Published in association with the George Eastman Museum &nbsp; Exhibition Schedule: &nbsp; George Eastman Museum, Rochester, NY (March 27–September 6, 2026) &nbsp; Isabella Stewart Gardner Museum, Boston, MA (June 17–September 12, 2027) &nbsp; Reynolda House Museum of American Art, Winston-Salem, NC (October 16, 2027–January 8, 2028)

Edward Steichen and the Garden

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

Icons, Legends, and Muses

Moments

Seydou Keïta: A Tactile Lens

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

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

The first major biography on Anni Albers traces the complex personality and influential artistic career of the groundbreaking modern artist &nbsp; Anni Albers (1899–1994) was a pioneer of twentieth-century modernism. As a textile designer, weaver, writer, and graphic artist, she inspired a reconsideration of fabrics as an art form, both in their functional roles and as wall hangings, and took the processes of printmaking into uncharted territory. This intimate biography draws on personal conversations with Albers from the 1970s as well as unprecedented archival research to tell a fresh and full story of Albers’s life and the development of her unique and influential artistic vision. &nbsp; Capturing Albers’s extraordinary perspective about the world around her, whether the milieu she was observing was the wealthy bourgeois Berlin of her childhood or the Mexican villages where she came to feel remarkably at home, Nicholas Fox Weber brings the artist’s pithy wit and imaginative mind to life. Weber presents a riveting narrative that follows Albers’s trajectory from her time at the Bauhaus and at Black Mountain College to her later years in New Haven, Connecticut; considers her relationship with her famous husband, Josef Albers; discusses her encounters with luminaries such as Walter Gropius, Wassily Kandinsky, Paul Klee, Buckminster Fuller, and John Cage; and foregrounds Albers’s perpetual curiosity, originality, and humor, as well as her novelistic sense of the world around her.

A Life

Anni Albers

Henri Cartier-Bresson

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