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Kolozsváry M: Shadowless

Shadowless

Gyula Czimra (1901 –1966) and his Art

A comprehensive presentation of the Yale University Art Gallery's collection of Italian paintings from the thirteenth to the fifteenth century &nbsp; The collection of Italian paintings at the Yale University Art Gallery is one of the largest and richest in the world. The first of four volumes on the collection, this sumptuously illustrated book features over seventy-five works dating from 1230 to 1420 by artists such as Taddeo Gaddi, Andrea di Cione (better known as Orcagna), Lippo Memmi, Pietro and Ambrogio Lorenzetti, and Lorenzo Monaco. In addition to discussions of each painting's meaning, function, and significance, entries provide published references, provenance, full technical notes, and detailed conservation histories. An introduction by Laurence Kanter chronicles the history of the collection, from the James Jackson Jarves Collection that was assembled in the nineteenth century-the earliest formed collection of Italian paintings in any American museum-to more recent gifts by Louis and Hannah Rabinowitz and Richard Feigen. While many of the works are from Florence and Siena, the volume also includes examples from Bologna, Rimini, Venice, and more. Through its wide-ranging holdings, the Gallery's collection provides a remarkable sense of the diverse visual culture of the time. &nbsp; Distributed for the Yale University Art Gallery

Volume 1: 1230-1420

Italian Paintings at the Yale University Art Gallery

Using timeless imagery of powerful women, sprawling country and scenes of magical surrealism that evoke not-so-distant times and places, Andrea Kowch has risen to be one of the leading figurative realists working today. The Michigan artist is a powerhouse of a painter who is comfortable working large and with complex compositions, and yet her work is also delicate, sensitive and willing to carefully embrace her audience with empathy and compassion. Here in these pages, viewers can step into Kowch's world to meet her strong-willed subjects, live in her gorgeous settings and explore her powerful themes of love, womanhood, strength and independence.

The Art of Andrea Kowch

Across a Rural Skyline

The major monograph Howard Smith celebrates the far-reaching practice of the multifaceted African-American artist, designer, and collector who spent most of his creative life in Finland.Working with paper, pigments, wood, clay, textiles, and metal, Smith had both fine art and commercial practices. While he designed for industry—planning interior designs for corporate offices, public buildings and a ferry—he especially enjoyed recycling items like scrap metal, used cardboard, and castoff clothing, which he transformed into&nbsp;offbeat compositions.&nbsp;Howard Smith’s work displays an exuberance and generosity characteristic of the man.&nbsp;Immediately recognizable for bold gestures in line, plane, and mass, his creations embrace rich colors and contrasts in material and form. He referred to many of these forms as ‘glyphs,’ vibrant figures that often suggest the human form in posture of celebration.Exhibition schedule: Palm Springs Art Museum, Palm Springs, California (opening May 2025) National Nordic Museum, Helsinki, Finland (dates TBD)

The major monograph Howard Smith celebrates the far-reaching practice of the multifaceted African-American artist, designer, and collector who spent most of his creative life in Finland.Working with paper, pigments, wood, clay, textiles, and metal, Smith had both fine art and commercial practices. While he designed for industry—planning interior designs for corporate offices, public buildings and a ferry—he especially enjoyed recycling items like scrap metal, used cardboard, and castoff clothing, which he transformed into&nbsp;offbeat compositions.&nbsp;Howard Smith’s work displays an exuberance and generosity characteristic of the man.&nbsp;Immediately recognizable for bold gestures in line, plane, and mass, his creations embrace rich colors and contrasts in material and form. He referred to many of these forms as ‘glyphs,’ vibrant figures that often suggest the human form in posture of celebration.Exhibition schedule: Palm Springs Art Museum, Palm Springs, California (opening May 2025) National Nordic Museum, Helsinki, Finland (dates TBD)

Howard Smith

Penguin Design

with Hans Ulrich Obrist

Ai Weiwei Speaks

An exploration of the rich creative influence of Italian Renaissance art on the designs of contemporary Italian fashion houses &nbsp; Successful Italian fashion houses such as Armani, Dolce &amp; Gabbana, and Versace are among the most high-profile and cutting-edge on the global fashion scene. Many of the innovative designs created by these and other major Italian houses draw on imagery from Italy’s rich cultural and artistic past. Weaving together insightful texts and vivid illustrations, this book explores the creative, cultural, and social dialogues between contemporary Italian fashion houses and the enduring legacy of Renaissance Italy. &nbsp; During the Renaissance, the Italian peninsula was dominated by powerful aristocratic families or “houses,” such as the Medici in Florence and the Sforza in Milan, whose members used fashion and art to communicate their power. Through essays by scholars and fashion industry professionals, including Luca Missoni of the House of Missoni and Stefania Ricci, director of the Ferragamo Museum, this book provides an insider look at the creative connections between Italian Renaissance “houses” and contemporary Italian fashion houses, and the design innovations that celebrate the vital legacy of Italian Renaissance imagery. Art directed by Luca Stoppini, former Vogue Italia creative director, this book features an inventive, oversize design reminiscent of Vogue magazine’s storied annual “September Issue,” conveying a gripping story about contemporary Italian fashion and enlivened with runway and art images, as well as original photography inspired by nostalgic glossy editorials. &nbsp; Distributed for the Cleveland Museum of Art &nbsp; Exhibition Schedule: &nbsp; Cleveland Museum of Art (November 9, 2025–February 1, 2026)

The Enduring Italian Houses

Renaissance to Runway

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

The Making of the Most Influential Videogames of All Time

Playmakers

A reprint of the sold-out 2007 first edition with a new introduction, Mapping Water embraces uncharted artistic terrains.&nbsp;Tuwaletstiwa writes, “In this vast desert, a thin membrane separates the daily world and the world of spirit. This elemental landscape holds a deep reservoir of the unconscious, continually reminding me of the fragility and tenacity of life. Whether writing, painting, working with fiber, sand, or glass, I seek to embody the elusive images that emanate from the unconscious.”The first section in Mapping Water explores the etymology of the word “genesis” alongside paintings that relate (and don’t relate) to parts of the text, evoking thoughts on the “genesis” of ideas. Subsequent sections continue this exploration with content that varies from the deconstruction of an iconic Holocaust photograph to the construction of a series using feathers and bones to honor the spirit of a dead crow.

A reprint of the sold-out 2007 first edition with a new introduction, Mapping Water embraces uncharted artistic terrains.&nbsp;Tuwaletstiwa writes, “In this vast desert, a thin membrane separates the daily world and the world of spirit. This elemental landscape holds a deep reservoir of the unconscious, continually reminding me of the fragility and tenacity of life. Whether writing, painting, working with fiber, sand, or glass, I seek to embody the elusive images that emanate from the unconscious.”The first section in Mapping Water explores the etymology of the word “genesis” alongside paintings that relate (and don’t relate) to parts of the text, evoking thoughts on the “genesis” of ideas. Subsequent sections continue this exploration with content that varies from the deconstruction of an iconic Holocaust photograph to the construction of a series using feathers and bones to honor the spirit of a dead crow.

Judy Tuwaletstiwa: Mapping Water (Reprint)

Goya's Last Portrait/A Question of Geography

Her second monograph with Radius, Victoria Sambunaris: Transformation of a Landscape shares the nuance and majesty of the artist’s practice in a large-scale book format.Based in New York, Victoria Sambunaris structures her life around a photographic journey traversing the American landscape for several months per year. Equipped with a 5×7-inch field camera, a video camera, and research material, she crosses the country alone tenting on top of her car. Her project-based photographs document the continuing transformation of the American landscape with specific attention given to expanding political, technological, and industrial interventions.Part of her ongoing, twenty-four-year series “Taxonomy of a Landscape,” this book encompasses the past decade of work, including collected ephemera that form the essential and incidental elements of her practice as a photographer and researcher. Also featured are archival documentation of experiences and observations on the road, such as snapshots, maps, road logs, journals, geology and history books, mineral specimens, and artifacts. The work of Victoria Sambunaris is held in numerous public collections across the United States, including the Denver Art Museum (CO), Los Angeles County Museum of Art (CA), Art Institute of Chicago (IL), International Center of Photography (NY), Center for Creative Photography (AZ), Buffalo AKG Museum (NY), San Francisco Museum of Modern Art (CA), Museum of Modern Art (NY), National Museum of Women in the Arts (DC), Brigham Young University Museum of Art (UT), Virginia Museum of Fine Arts (VA), Museum of Fine Arts Houston (TX), Nelson-Atkins Museum (MO), and National Gallery of Art (DC).

Her second monograph with Radius, Victoria Sambunaris: Transformation of a Landscape shares the nuance and majesty of the artist’s practice in a large-scale book format.Based in New York, Victoria Sambunaris structures her life around a photographic journey traversing the American landscape for several months per year. Equipped with a 5×7-inch field camera, a video camera, and research material, she crosses the country alone tenting on top of her car. Her project-based photographs document the continuing transformation of the American landscape with specific attention given to expanding political, technological, and industrial interventions.Part of her ongoing, twenty-four-year series “Taxonomy of a Landscape,” this book encompasses the past decade of work, including collected ephemera that form the essential and incidental elements of her practice as a photographer and researcher. Also featured are archival documentation of experiences and observations on the road, such as snapshots, maps, road logs, journals, geology and history books, mineral specimens, and artifacts.

Victoria Sambunaris: Transformation of a Landscape

Raw, personal and political, John Scott: Firestorm presents an artist's searing critique of modernity’s capacity for industrial warfare and the machines that enable it. John Scott (1949–2022) produced paintings, drawings, and sculptures of what he called "engines of history," the hyper-masculine military and civilian weapons of the past half-century. Surveillance aircraft, B-52 and stealth bombers, tanks, cruise missiles and rockets, as well as handguns, muscle cars, and motorcycles forcefully imprint themselves upon the viewer through Scott's fierce mark-making and large, rough sculptural gestures. Humanoid rabbits—often surrounded by numbers that fail to add up—represent those threatened by such technologies. The dichotomy between the death-dealing weaponry of the nuclear era and the vulnerability of human beings lies at the core of Scott's work. Scott deployed an idiosyncratic graphic language to represent apocalyptic machines and power imbalances, working in the tradition of Francisco Goya, Käthe Kollwitz, Nancy Spero, and others. Scott grew up in Windsor, Ontario, across the river from Detroit, Michigan. Like many Canadian artists, writers, and intellectuals of his time, Scott was a close watcher of America, with a front-row seat on a sometimes rogue nation. Stylistically, his work is close to that of his contemporaries Jean-Michel Basquiat and William Kentridge, showing a kindred ferocity of mark-making and dark urgency. John Scott: Firestorm accompanies the exhibition of the same name organized by the McMichael Canadian Art Collection, curated by Canadian art scholar John O'Brian. It is the first major exhibition of Scott's work to focus on his imagery of machines and modernity's capacity for industrial war—a body of work as meaningful today as it was when it first appeared in the 1970s. This publication features over 100 of Scott's works, a detailed biography, and new critical writings on the artist.

Firestorm

John Scott

Matters of the Image introduces a new framework for thinking about digital images.

Matters of the Image introduces a new framework for thinking about digital images.

Designing Digital Images with Materiality, Energy, and Living Matter

Shadowless

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