“Architects are not building temporary housing because we are too busy building for the privileged people…. I’m not saying I’m against building monuments, but I’m thinking we can work more for the public.” - Shigeru Ban, Pritzker Prize, 2014
In 1994, after seeing photographs of the plastic sheets given to Rwandan refugees to live under, Shigeru Ban went to the United Nations High Commissioner for Refugees to propose ideas for better shelters. Since then, Ban has been critically heralded for his innovative approaches to environmentally sound architecture and his devotion to humanitarian efforts in the wake of some of the most devastating natural and man-made disasters. His temporary housing has employed everything from plastic beer cartons to paper tubes to create ingeniously flexible spaces. By sourcing unconventional, recycled, inexpensive, local and sustainable materials, he stimulates devastated economies by involving local resources and labor. These works stem from empathy and have restored shelter and gathering places, offering comfort, protection and dignity to stricken communities around the world.
This important volume is the first book-length study to collect, catalogue and examine Shigeru Ban's architectural responses to disaster relief. Essays and discussions of individual projects, drawings in the artist's hand, instruction manuals, diverse photographs and a timeline and map make an essential compendium for the most personal and relevant aspect of Ban's work. The book is a major contribution to the broad subjects of humanitarian relief and sustainable design solutions, and provides an inspiring testament to Ban's ongoing dedication to our planet and its people.
Born in Tokyo in 1957, Shigeru Ban studied at the Southern California Institute of Architecture and went on to Cooper Union's School of Architecture where he studied under John Hejduk. At age 48, Ban won the 2005 Thomas Jefferson Medal in Architecture from the University of Virginia. He was profiled by Time in their projection of twenty-first-century innovators in the field of architecture and design. Ban was awarded the Pritzker Architecture Prize in 2014.

Shigeru Ban: Humanitarian Architecture

Arts & Photography

Individual Artists

D.A.P.

First edition. Seventeen short essays, most previously published and reworked, on subjects relating to design and the book as art object. Four black and white illustrations accompany the text. Signed by the author. 79, 3 pages. stiff paper wrappers. small 8vo..

Bookmaker's Desire, The

Buzz Spector

Graphic Design

Review\nThough technically monographic, 'by Alison Knowles' necessarily convenes an entire Fluxus ensemble. Isolating Knowles from Higgins, Williams, George Brecht, Philip Corner, Shigeko Kubota, George Maciunas, Benjamin Patterson, Nam June Paik, Takako Saito, Mieko Shiomi, and the omnipresent John Cage is like extracting the glue from a collage. In my experience, the best Fluxus exhibitions avoid grasping at epistemologically slippery questions about what Fluxus was and instead explore what Fluxus can still do. -- Colby Chamberlain ― Artforum\nBy Alison Knowles smartly pushes the exhibition catalogue towards the form of artists’ book, a fitting push for the work of such a seminal figure in the field. -- Megan N. Liberty ― Brooklyn Rail\nThe first survey of the Fluxus cofounder’s prolific avant-garde output, from eight-foot-tall books to make-a-salad performances 
The American artist Alison Knowles’ (born 1933) groundbreaking experiments―from painting and printmaking to sculpture and installation, sound works, poetry and artist’s books―have influenced art and artists for more than 50 years but remain relatively unknown among mainstream audiences. The first comprehensive volume on the artist, By Alison Knowles: A Retrospective presents more than 200 objects that span the entire breadth of her career, from her intermedia works of the 1960s to forms of participatory and relational art in the 2000s. 
The accompanying catalog features contributions by international Fluxus curators, historians and scholars, including lead essays by organizer Karen Moss, Hannah B. Higgins and Nicole Woods, and short contributions by co-editor Lucia Fabio, Lauren Fulton, Maud Jacquin and Sébastien Pluot. It also includes reprints of key articles by Benjamin Buchloh, Julia Robinson and Kristine Stiles, as well as a conversation between Alison Knowles and poet George Quasha. Richly illustrated with more than 250 images, the full-color catalog, designed by Kimberly Varella, includes a softcover lay-flat binding, special colored papers for each section, die-cut section dividers and a chronology. The cover of the book is a makeready (press sheets gathered from printing the interior of the book) produced during the printing of the interior pages. Each cover in the edition is unique.

By Alison Knowles: A Retrospective (1960–2022)

Mike Mandel is best known for his project Baseball-Photographer Trading Cards, as well as his collaborations with the late Larry Sultan. Mandel employs conceptual structures and social commentary underneath a playful presentation. For the Baseball-Photographer Trading Cards, Mandel traveled across the US in 1974, posing 134 photographers and curators as ball players, and photographing them. Participants included famous figures (Ansel Adams, Imogen Cunningham, Harry Callahan, Minor White, Aaron Siskind, William Eggleston, Ed Ruscha, John Szarkowski) as well as lesser-known artists. Cards were made of each participant, and included "stats" such as height, weight, home, favorite camera and a personal statement. The original cards were sold in packs of ten. This boxed collection--published in a limited edition of 1,000 copies--contains facsimiles of Mandel's original publications, long out of print, including the Baseball-Photographer Trading Cards, Myself: Timed Exposures, Seven Never Before Seen Portraits of Edward Weston, plus previously unpublished work such as Motel Postcards, People in Cars and Mrs. Kilpatric, and ephemera from the projects, including selected facsimile contact sheets from the baseball photo shoots, a letter to Mandel from Charis Wilson regarding Edward Weston and a pack of ten of the original 1975 baseball cards. Mike Mandel (born 1950) is an artist who has been working primarily with photography since the early 1970s. He teaches at the School of the Museum of Fine Arts, Boston, and is a recent visiting lecturer in the Department of Visual and Environmental Studies at Harvard. A retrospective of his work is scheduled for 2017 at SFMOMA.

Mike Mandel: Good 70s

Photography & Video

The last word on the French New Wave as viewed by one of its most influential commentators, this glorious book examines the golden days of that era, year by year, from 1955 to 1964, through beautifully-reproduced stills, movie posters and contemporary reviews from numerous sources. Jean Douchet, a staff writer on Cahiers du Cinéma during the New Wave's heyday, has written introductions that trace emergent themes in the films of Godard, Truffaut, Rohmer, Marker, Chabrol, Malle, Resnais, Rivette, Varda, Eustache, Astruc and Demy. French New Wave is unsurpassed as a history of the most influential movement in cinema history. "Here is a lavish history of the film movement that spawned the careers of Francois Truffaut, Jean-Luc Godard and a number of other important contemporary filmmakers. Douchet... considers his subject from almost every possible angle."--Library Journal. "A landmark in film scholarship."--Cineaste

The French New Wave

Humor & Entertainment

Douchet, Jean

Movies

An artist's book exploring the language of protest A new artist's book by Adam Pendleton (born 1984), As Heavy as Sculpture follows Pendleton's 2021 installation of the same title, exhibited at the New Museum in New York. The book collects, repeats and processes over 80 source collages, incorporating drawings, sketches, writing and marks, often in combination with images. Much of the language in the collages is drawn from the protests against police brutality that swept the US in 2020: Pendleton has transcribed slogans sprayed on walls and windows, combining them with his own improvised language as well as photographs of art objects and artifacts (sculptures, masks and figures). The work points to the poetic pressure that uprisings place on language itself, compressing it in some cases into the barest of forms: simple sequences like "ACAB" or "1312," further reducible to the elements "A, B, C," "1, 2, 3." In parallel with these operations of decomposition and recomposition, the collages in As Heavy as Sculpture have been duplicated, laid out across 30 sheets and folded into book signatures, creating new displacements and cuts. This folding is in effect a chance operation, a procedure of recombination and translation, resulting in arrangements of images not planned out in advance.

Adam Pendleton: As Heavy as Sculpture

History & Criticism

Review\nThese previously unpublished selections of 35mm slides confirm and extend the stubborn singularity of Leiter’s color language. -- Randy Kennedy ― Aperture\nThe photographs and texture of the mundane movements of the city: a couple kissing on a rain-dampened bench, glossy taxis waiting in the street, the flash of a red dress. -- Baya Simons ― Financial Times: How To Spend It\nThere are hardly any notable color photographs from that era – other than Leiter’s. This makes his images of everyday Manhattan such a revelation: a black-and-white world turned into a sidewalk Oz. -- Mark Feeney ― Boston Globe\nThe book takes us into familiar Leiter territory―umbrellas, red dresses, rain-dappled windows―only to prove the man all the more remarkable for never seeing a thing the same way twice. -- Julia Vitale ― Airmail\nLeiter was a keen observer as life unfolded before him, somehow finding a way to reliably pluck a sublime split-second out of a mundane moment. -- Mee-Lai Stone ― Guardian\nAt a time when photos are disposable and Instagram gratification is coin of the realm, Unseen Saul Leiter is a book that will teach you a new way to see. -- Bill Shapiro ― Esquire\nIt is a revelatory and colossal archival project that allows even Leiter’s enthusiasts to discover him all over again. -- Kim Bubello ― TIME\nA thrilling trove of newly discovered color works from the photographer celebrated for his pioneering painterly vision 
Now firmly established as one of the world’s greatest photographers, Saul Leiter (1923–2013) was relatively little known until the 2006 publication of Saul Leiter: Early Color, when he was already in his eighties. Choosing to shoot in color when black and white was the norm, Leiter portrayed midcentury New York’s street life with a gorgeous painterliness that evoked the sensuality of his Abstract Expressionist contemporaries Rothko and Newman. His studio in the East Village, where he lived from 1952 until his death in 2013, is now the home of the Saul Leiter Foundation, which has commenced a full-scale survey of his more than 80,000 works. 
This volume contains works discovered through this project―specifically, color photography from slides never before published or seen by the public. It is edited by Margit Erb and Michael Parillo of the Saul Leiter Foundation, and is embellished with texts that describe how Leiter assembled his slide archive and how it is being catalogued and restored. 
Saul Leiter was born in Pittsburgh in 1923. He pioneered a painterly approach to color photography in the 1940s and produced covers for fashion magazines such as Vogue and Harper's Bazaar, before largely withdrawing from public attention in the 1980s. The publication of his first collection, Early Color, by Steidl in 2006, inspired an avid “rediscovery” that led to worldwide exhibitions and the release of a documentary, In No Great Hurry: 13 Lessons in Life with Saul Leiter (2014). He died in New York in 2013.

The Unseen Saul Leiter

Review\nShe deploys text, rephotographs or reconstructs classic photos, arranges pictures in elaborate installations, constantly questioning the medium and her place in it. -- Lucy Sante ― The New York Times Book Review\nA kind of Rosetta Stone to her complex creative identity. -- James Cornfield ― Rangefinder Magazine\nSpeak[s] on behalf of what we already know about Weems, directing us towards new questions that might be generated from those narratives. -- Kat Herriman ― Cultured\nIn the five essays and 40 projects included, you’ll find the foundation of a career that continues to influence a new generation of photographers. -- Kim Bubello ― TIME\nAn illuminating, if tantalising, book that makes one hope the retrospective will travel this way some time soon. -- Jo Blason ― Guardian\nThe most comprehensive survey of Weems’ genre-defying oeuvre yet published 
One of the most influential American artists working today, Carrie Mae Weems has investigated narratives around family, race, gender, sexism, class and the consequences of power for more than 40 years. Her complex oeuvre―always ahead of its time, and profoundly formative for younger generations of artists―has employed photography (for which she is best known), fabric, text, audio, digital images, installation and video. Writing in the New York Times, Holland Cotter succinctly described Weems as “a superb image maker and a moral force, focused and irrepressible.” 
This volume, spanning four decades of work, is the most thorough survey yet published. It includes Weems’ earliest series, such as Family Pictures and Stories, for which she photographed her relatives and close friends; the legendary Kitchen Table Series, in which she posed in a domestic setting; and other critically acclaimed works and series such as Ain’t Jokin’, Colored People, From Here I Saw What Happened and I Cried, Not Manet’s Type, The Jefferson Suite, Monuments, Roaming, Museums, Constructing History (A Class Ponders the Future), Slow Fade to Black and the Obama Project, among many others. Contextualizing these pieces are essays by LaCharles Ward and Fred Moten and a chronology by Raul Muñoz. The book also includes a visual essay by Weems that presents a personal selection of her own works from the artist's perspective. The accompanying exhibition is organized by Fundación MAPFRE in collaboration with Fundación Foto Colectania, Barcelona and Württembergischer Kunstverein, Stuttgart, where the exhibition Carrie Mae Weems. The Evidence Of Things Not Seen took place from April 2 through July 10, 2022. 
Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.

Carrie Mae Weems: A Great Turn in the Possible

The first retrospective on a fascinating protagonist of the 1970s Pattern & Decoration movement, who defied Minimalist orthodoxy with humorous multimedia explorations of domesticity and ornament 
This is the first comprehensive volume on Cynthia Carlson (born 1942), a key artist of the Pattern & Decoration group who responded to Minimalism’s dominance in the 1970s. The work of this group has recently been revisited and reappraised in exhibitions and by art scholarship. A Chicagoan under the influence of the Chicago Imagists, Carlson landed in New York City in 1965 and has exhibited widely (she was included in Lucy Lippard’s seminal 1971 exhibition 26 Contemporary Women Artists at the Aldrich Museum of Contemporary Art). Her interest in the domestic―as a source of shapes and as a realm of familial experiences, chores and memories―intersects with the works of contemporaries ranging from Jennifer Bartlett to Joel Shapiro and Elizabeth Murray. Carlson's utilization of architectural motifs might align at one moment with the vernacular embraced in the buildings of Venturi & Scott Brown and, at another, with the postmodern rehabilitation of Beaux-Arts ornament. Her hand-painted "wallpaper" is considered a significant contribution and influence on contemporary installation art. Carlson’s artistic identity continues to morph: from room-size wallpaper and a life-size gingerbread house to unexpected shaped canvasses, architectural constructions and pet portraits. Whatever she creates, however eccentric, is high-spirited, genial and insightful.

Cynthia Carlson: Sixty Years

Eugene Richards: Remembrance Garden: A Portrait of Green-Wood Cemetery

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