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Sophie Taeuber-Arp: The Rule of Curves /
la règle des courbes

Sophie Taeuber-Arp: The Rule of Curves / la règle des courbes

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

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

An Artist in Changing Seasons

Constable's Year

Dionne Lee's first monograph is a powerful meditation on the tension between the landscape as sanctuary and site of violence for African Americans. Dionne Lee's work across photography, video, and collage spans themes of dispossession, loss, survival, and resilience. Lee's formal interventions and innovative darkroom techniques--including rephotographing found imagery from wilderness survival manuals and using graphite pencils to create inscriptions on her photographs of the landscape--create new narratives that reclaim the great outdoors. Covering a decade of her work from 2016 to the present, Dionne Lee: Currents features contributions by curator Eric Booker and award-winning poet Camille T. Dungy, offering a timely reckoning with land, memory, and identity. It stands as an essential statement on the medium's potential today.

Dionne Lee: A Monograph

Through a series of newly-commissioned conversations by renowned artists, writers, and scholars, in produced in collaboration with the Georgia O’Keeffe Museum in Santa Fe, In New Light offers new entry points into the iconic American modernist. An extremely well-known painter and cultural figure, O’Keeffe’s persona and biography have remained as much a part of her story as her innovations within and contributions to modernist painting. What are the questions that need to be asked (and critiques to be raised and considered) about her work and legacy today?
 Included is a fully illustrated summary of O’Keeffe’s work — from very early pieces to her latest paintings, with both significant masterworks as well as less-known pieces. Photographs of the artist, her residence in Abiquiú, and other objects and ephemera in the Museum’s collection appear throughout this chronological plate section.
 In addition to the O’Keeffe Museum, the artist’s work is held in countless major public collections, including the Amon Carter Museum of American Art (Dallas),&nbsp;Art Institute of Chicago, Brooklyn Museum, Cleveland Museum of Art, Milwaukee Art Museum,&nbsp;National Gallery of Art (Washington), and The White House (Washington, DC).

Georgia O'Keeffe: In New Light

A Life of Peter Hujar and Paul Thek

The Wonderful World that Almost Was

Joseph Beuys and History

A major reevaluation of a towering figure in twentieth-century art and the relationship of his sculpture to the crisis of nationalism in modern Europe &nbsp; Figures of Crisis examines the neglected decade of artwork that separates the surrealist experiments of Swiss artist Alberto Giacometti (1901–1966) from his iconic postwar sculptures, revealing the connection between a famous artistic crisis in modern art and the crisis of national identity in modern Europe. In 1935, Giacometti abruptly abandoned his early abstract objects and devoted himself to sculpting portrait busts and minuscule figurines, many no larger than a fingernail. Joanna Fiduccia reimagines this fragmentary and inconspicuous body of work as the pivotal phase in his career, which registered the erosion of interwar democratic values and the searching questions this period posed for the future of modern sculpture. &nbsp; Challenging previous explanations of Giacometti’s return to figuration, Fiduccia argues that his figures gave form to the experience of social breakdown during the rise of fascism through their turbulent surfaces, unsettling generality, dramatic reduction of scale, and compulsive repetition. This fresh account, told through the philosophical, political, and aesthetic thought of Giacometti’s time, shows how ideologies of nationalism generated the problems of selfhood at the heart of modernism.

Alberto Giacometti and the Myths of Nationalism

Figures of Crisis

Liquid Reflections

Lee Friedlander's latest monograph captures the irony and complexity of American life, past and present. Since the 1960s, Lee Friedlander has created incisive, often witty photographs of the American social landscape, shaping our appreciation of the quirks, charms, and idiosyncrasies of everyday life. In his latest monograph, Life Still, he brings together rarely seen and never-before-published images from his vast archive alongside compelling new work, staging a visual dialogue between past and present. From fractured, disorienting reflections in shop windows and car mirrors to deadpan observations of domestic scenes and street signage, Friedlander's polychronic vision of American ubiquity is as comforting as it is alienating. Through the contradictions in the commonplace, Friedlander presents us with the enduring riddle of US culture: How does America seem, at once, so small and big, quiet and loud, phony and true? In Life Still, he reveals that these stubborn paradoxes of the American consciousness--the irony, humor, and self-conflict--remain as vivid today as they always have been.

Lee Friedlander: Life Still

A reconsideration of Filippino Lippi’s transformative Roman period and the ensuing evolution of his innovative style, as reflected in his Holy Family tondo in Cleveland—a masterpiece that exemplifies this pivotal phase in his career &nbsp; Between 1488 and 1493, leading Florentine artist Filippino Lippi (ca. 1457–1504) relocated to Rome to complete his celebrated frescoes in the funerary chapel of Neapolitan cardinal Oliviero Carafa in the major Dominican church of Santa Maria Sopra Minerva. During this time, Filippino also painted a magnificent tondo for Carafa: The Holy Family with Saint John the Baptist and Saint Margaret. Focusing on this seminal work in his oeuvre, Filippino Lippi and Rome traces the arc of the painter’s artistic practice before, during, and after his Roman period, illuminating the evolution of his processes and iconographic ingenuities. This in-depth study presents new scholarship on the inspiration Filippino found in the Eternal City and how The Holy Family tondo—the only known independent work produced by Filippino in Rome—influenced artists from Raffaellino del Garbo to Jan Gossaert to Leonardo da Vinci. Moreover, the essays and catalogue entries in this volume draw on recent technical analyses that had, for the first time, revealed the tondo’s underdrawing and pentimenti, shedding new light on Filippino’s painting techniques. These texts are accompanied by a chronicle of the work’s rediscovery at the start of the nineteenth century and the dramatic turn of events that led to its acquisition by the Cleveland Museum of Art in 1932. &nbsp; Distributed for the Cleveland Museum of Art &nbsp; Exhibition Schedule: &nbsp; Cleveland Museum of Art (November 30, 2025–February 22, 2026)

Filippino Lippi and Rome

Gladys Hynes (1888–1958) was a pioneering figure whose life and work embody the complex currents of the first half of the 20th century Born in India of Anglo-Irish descent, Hynes was not only a gifted painter, sculptor, illustrator and designer but also a radical—pacifist, feminist, suffragist and Irish Republican. Over five decades, she produced an exceptional body of work that engaged with the key movements of her time, ranging from the Newlyn School and Omega Workshops to Vorticism and Surrealism. Hynes moved in an extraordinary circle of creative, intellectual and political figures. Among her closest friends were fellow artists Nina Hammett, Laura Knight and Gluck. As well as Irish political activists Mabel and Desmond FitzGerald and Jack White. Her greatest and most influential friendship was with the controversial and avant-garde poet Ezra Pound, whose&nbsp;Cantos&nbsp;she illustrated. These intellectual and artistic exchanges significantly shaped Hynes’s life and development as an artist. Gladys Hynes’ legacy has been almost entirely overlooked. By shedding light on her artistic achievements, activism and feminist vision, this biography seeks to restore Hynes to her rightful place within the modernist canon as a remarkable woman whose influence, long neglected, is now ripe for rediscovery. &nbsp; &nbsp;

Radical Lives

Gladys Hynes

Sophie Taeuber-Arp: The Rule of Curves / la règle des courbes

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