Distributed Art Publishers

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Richard Meryman began an enduring friendship with Andrew Wyeth (1917-2009) while on the job as a Life magazine editor in 1964. For Meryman, this unique friendship yielded more than four decades of recorded conversations with Wyeth, his family, friends and neighbors in Wyeth's homes in Pennsylvania and Maine. The many hundreds of hours of tapes, eventually to be archived at the Brandywine River Museum in Chadds Ford, Pennsylvania, are of great interest to Wyeth scholars and followers. Meryman notes that, whether during formal interviews, shared meals, car rides or long walks, Wyeth applied to himself the same sensitive understandings that fueled his art. A lifelong realist who swam against the art world tide of modernism, he showed himself to be fundamentally a painter of emotion - of people and objects that somehow embodied his memories and imagination, triggering feelings inexpressible in words, but recognized by viewers. In five skillfully crafted monologues composed by Meryman around key themes in Wyeth's work, we hear the voices of not only the artist but also his subjects, neighbors, relatives and critics. The book includes reproductions of the works of art discussed by Wyeth in his own words, as well as previously unpublished photographs of Wyeth's studio taken in 2009. Richard Meryman is the author of the acclaimed biography Andrew Wyeth: A Secret Life (1996).

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Printmaking was a vital artistic practice for Warhol. In their fascination with popular culture and provocative subverting of the difference between original and copy Warhol’s prints are recognized now as a prescient forerunner of today’s hyper-sophisticated, hyper-saturated and hyper-accelerated visual culture.

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Lee Friedlander’s exploration of one of photography’s most enduring genres began almost by chance, in the late 1970s, when a teacher colleague at Rice University in Houston lined up a regular schedule of nude models for his students. Almost immediately, Friedlander found that he preferred to photograph the models at their homes, and ingeniously deployed household objects such as bedside lamps, potted plants and sofa fabrics to play off against the angular poses of the models and the emphatic framing of the overall composition. Friedlander’s nudes show every blemish, every contour that makes each body unique, while his flash often serves to counter this realism with a softening effect that often recedes the body’s shadow right up to its outline. With the publication of Friedlander’s nude portraits of Madonna (prints of which fetch huge sums), the series became among the photographer’s best known work, and eventually saw publication in 1991, from Jonathan Cape. Lee Friedlander: The Nudes significantly expands on the Cape edition (itself long out of print), with a total of 84 nudes, plus a new layout and design by Katy Homans and new separations by Thomas Palmer. As such, it offers the most lavish presentation of this key series in Friedlander’s massive oeuvre. Lee Friedlander (born 1934) first came to public attention in the landmark exhibition New Documents, at The Museum of Modern Art, New York, in 1967. More than 40 books about his work have been published since the early 1970s, including Self-Portrait, Sticks and Stones, Cherry Blossom Time in Japan, Family, America by Car, People at Work, The New Cars 1964 and Mannequin. His career was the focus of a major traveling retrospective organized by The Museum of Modern Art in 2005.

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When René Magritte reached his 40s, something unexpected happened. The painter, who had honed an iconic Surrealist style between 1926 and 1938, suddenly started making paintings that looked almost nothing like his earlier work. First he adopted an Impressionist aesthetic, borrowing the sweet, hazy palette of Pierre-Auguste Renoir?which he described as “sunlit Surrealism.” Then his style shifted again, incorporating popular imagery, the brash colors of Fauvism and the gestural brushwork of Expressionism. And then Magritte returned to his classic style as if nothing had happened. René Magritte: The Fifth Season looks at the art Magritte made during and after the stylistic crises of the 1940s, revealing his shifting attitudes toward painting. Subjects explored in this volume include the artist’s Renoir period; the période vache, with its Fauvist- and Expressionist-style paintings that are little known to American audiences; the “hypertrophy of objects” paintings, a series that plays with the scale of familiar objects; and the enigmatic Dominion of Light suite, paintings that suggest the simultaneous experience of day and night. Featuring full-color plates of approximately 50 oil paintings, and a dozen of the artist’s gouaches, René Magritte: The Fifth Season offers a new understanding of Magritte’s special position in the history of 20th-century art. In a career of almost half a century, Belgian Surrealist René Magritte (1898–1967) probed the distance between object, language and image. Even as he playfully explored new styles, his painting practice remained consistent in its cautionary message not to equate the observable world with reality in all its fullness.

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Warhol's iconic portrayal of the Factory scene and '60s New York. Andy Warhol's 1966 movie The Chelsea Girls is the iconic document of the Factory scene and 1960s New York. Filmed in part at the Chelsea Hotel with Factory Superstars like Nico, Ondine, Brigid Berlin, Gerard Malanga and Mary Woronov, The Chelsea Girls was Warhol's first commercially successful film. "In one film alone" an early reviewer noted, [Warhol] has sadism, masochism, whipping, transvestites, homos, prostitutes, a homosexual 'Pope', boredom, stunningly beautiful girls, depravity, humor, 'psychedelics', truth, honesty, liars, poseurs. In honor of the 24th anniversary of The Andy Warhol Museum, the publication of Andy Warhol's The Chelsea Girls coincides with a major project undertaken by the museum to digitize hundreds of his well-known and never-before-seen films. The book is an in-depth, deluxe treatment of the film, featuring stills from the newly digitized film, previously unpublished transcripts and archival materials, and expanded information about each of the individual films that comprise The Chelsea Girls. The film's alternation of sound between the left and right screens is recalled in the publication's design in which the transcripts are printed directly beneath the corresponding imagery to evoke an authentic experience of the film. Also included are previously unpublished transcriptions of unheard reels. Andy Warhol's The Chelsea Girls is a beautifully produced document of a legendary movie and a mythic moment.

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In 2001, Nick Brandt embarked on an ambitious photographic project, a trilogy of books memorializing the fast-disappearing natural grandeur of East Africa. Focusing on some of the world's last great populations of large mammals - elephants, giraffes, lions, gorillas and their kin - he created two of the twenty-first century's most popular photographic books: the instant bestsellers On This Earth (2005) and A Shadow Falls (2009). Portraying East Africa's animals with a solemnity and empathy usually reserved for human subjects, Brandt's photographs "tell us, in a way that is beyond words, that we do not own this planet, and are not the only beings living on it who matter", as philosopher Peter Singer writes in an essay in this new volume. On This Earth, A Shadow Falls collects the most memorable images from Brandt's first two books in a handsome linen-bound edition, printed in quadratone at Meridian in the U.S. A bestseller since its release in 2012, On This Earth, A Shadow Falls includes essays by Peter Singer, renowned primatologist Jane Goodall, author Alice Sebold and photography critic Vicki Goldberg. With Africa's natural resources being fast wiped out, this volume stands all the more movingly as a last testament and elegy to a disappearing world. Nick Brandt (born 1966) photographs exclusively in Africa, using medium-format black-and-white film without telephoto or zoom lenses. Born in Britain and currently based in Southern California, Brandt cofounded Big Life Foundation in September 2010, which helps protect the endangered wildlife inhabiting a large area of East Africa.

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New York City as it might have been: 200 years of visionary architectural plans for unbuilt subways, bridges, parks, airports, stadiums, streets, train stations and, of course, skyscrapers. Never Built New York shows us the visionary architectural ideas of the city's greatest dreamers across two centuries of New York City history. Nearly 200 proposals spanning 200 years encompass bridges, skyscrapers, master plans, parks, transit schemes, amusements, airports, plans to fill in rivers and extend Manhattan, and much, much more. Included are alternate visions for Central Park, Columbus Circle, Lincoln Center, MoMA, the UN, Grand Central Terminal, the World Trade Center site and other highlights such as: Alfred Ely Beach's system of airtight subway cars propelled via atmospheric pressure; Frank Lloyd Wright's last project, his Key Plan for Ellis Island, on which he would have developed his dream city; Buckminster Fuller's design for Brooklyn's Dodger Stadium, complete with giant geodesic dome to shield players and fans from the rain; developer William Zeckendorf's Rooftop Airport, perched on steel columns 200 feet above street level, spanning from 24th to 71st Street, Ninth Avenue to the Hudson River; John Johansen's Leapfrog City proposal to create an entirely new neighborhood atop the tenements of East Harlem; and Stephen Holl's Bridge of Houses, offering options from SROs to modest studios to luxury apartments on a segment of what is now the High Line. Fact-filled and entertaining texts, plus sketches, renderings, prints and models drawn from archives across the country tell stories of ideas that would have drastically transformed the way we inhabit and move through the city.

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George Whitman opened his bookstore in a tumbledown 16th century building just across the Seine from Notre-Dame in 1951, a decade after the original Shakespeare and Company had closed. Run by Sylvia Beach, it had been the meeting place for the Lost Generation and the first publisher of James Joyce's Ulysses. (This book includes an illustrated adaptation of Beach's memoir). Since Whitman picked up the mantle, Shakespeare and Company has served as a home away from home for many celebrated writers, from Jorge Luis Borges to Ray Bradbury, A.M. Homes to Dave Eggers, as well as for young authors and poets. Visitors are invited not only to read the books in the library and to share a pot of tea, but sometimes also to live in the shop itself - all for free. More than 30,000 people have stayed at Shakespeare and Company, fulfilling Whitman's vision of a "socialist utopia masquerading as a bookstore". Through the prism of the shop's history, the book traces the lives of literary expats in Paris from 1951 to the present, touching on the Beat Generation, civil rights, May 68 and the feminist movement - all while pondering that perennial literary question, What is it about writers and Paris?

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With its unique focus on visual language, Ellen Lupton's How Posters Work is more than another poster book. Rather than provide a history of the genre or a compilation of collectibles, the book is organized around active design principles. Concepts such as Simplify, Focus the eye, Exploit the diagonal, Reverse expectations and Say two things at once are illustrated with a diverse range of posters, from avant-garde classics and rarely seen international works to contemporary pieces by today's leading graphic designers. Illustrated with over 150 works from the collection of Cooper Hewitt, Smithsonian Design Museum, How Posters Work provides a stunning education in seeing and making, demonstrating how some of the world's most creative designers have mobilized principles of layout, composition, psychology and rhetoric to produce powerful acts of visual communication. Ellen Lupton (born 1963) is an acclaimed writer, curator and graphic designer. She is Director of the Graphic Design MFA program at Maryland Institute College of Art (MICA) in Baltimore, where she also serves as Director of the Center for Design Thinking. As Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum since 1992, she has produced numerous exhibitions and books, including Mechanical Brides: Women and Machines from Home to Office (1993), Mixing Messages: Graphic Design and Contemporary Culture (1996), Letters from the Avant-Garde (1996), Skin: Surface, Substance + Design (2002) and most recently Beautiful Users: Designing for People (2014). Lupton is a 2007 recipient of the AIGA Gold Medal, one of the highest honors given to a graphic designer or design educator in the US.

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The Human Factor: The Figure in Contemporary Sculpture brings together the work of over 25 leading international artists, in whose practice the human form plays a central role. Over the past 25 years, artists have reinvented figurative sculpture by looking to earlier movements in art history as well as imagery from contemporary culture. Setting up dialogues with modernist as well as classical and archaic models of art, these artists engage and confront the question of how we represent the human today. In these works, bodily forms hover between familiarity and an unsettling otherness, between signs of presence and absence, agency and objectification, as artists find novel ways to question our commonplace codes of subjectivity and to challenge our impulse to identify with the anthropomorphic. Eschewing concerns related to psychological portraiture, these artists use the figure as a catalyst for evoking far-ranging content, including subjects spanning political violence and mortality to sexuality and voyeurism. A unique survey of contemporary figurative sculpture, this profusely illustrated volume features works by Pawel Althamer, Frank Benson, Huma Bhabha, Maurizio Cattelan, Urs Fischer, Katharina Fritsch, Ryan Gander, Isa Genzken, Rachel Harrison, Georg Herold, Thomas Hirschhorn, Martin Honert, Pierre Huyghe, Jeff Koons, Paul McCarthy, John Miller, Cady Noland, Ugo Rondinone, Thomas Schutte, Yinka Shonibare, Paloma Varga Weisz, Mark Wallinger, Rebecca Warren, Andro Wekua and Cathy Wilkes, among others.

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NASA's Apollo program landed the first humans on the moon in 1969. In the next three years, Apollo sent 10 more men to the moon in five subsequent missions. The first moon landing in particular is a legendarily well-documented event, representing one of those rare moments in which the world was united in awe, witnessing the feat together on their television screens. But each Apollo mission also generated hundreds of photographs, many of which have only recently been released by NASA. A selection of these images shot by the astronauts themselves with suit-mounted and handheld Hasselblad cameras are gathered in this beautifully designed, affordable volume. Many of the photographs, though shot originally for scientific, documentary purposes, have an extraordinary snapshot quality, boasting inadvertently artful compositions and effects: in one, a pair of astronaut's legs emerges upside down from the bottom of the frame; in another, a striding astronaut appears to glow against the black recesses of space. Contextualized with background information about the Apollo Missions and the role of photographic documentation in them, the photographs in The Moon 1968-1972 are fascinating documents of the majesty of outer space, but also record the surface of the moon as a landscape of wonder. This is the moon of which E.B. White wrote in the July 1969 issue of The New Yorker "The moon, it turns out, is a great place for men. One sixth gravity must be a lot of fun, and when Armstrong and Aldrin went into their bouncy little dance, like two happy children, it was a moment not only of triumph but of gaity".

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Carnegie Museum of Art's impressive collection of Impressionist and Post-Impressionist paintings, prints and works on paper has never before been presented as a group. More than simply a selection of highlights, this handbook weaves together objects from the collection to tell the stories of these innovative movements and the groundbreaking artists behind them, including Manet, Monet, Degas, Cassatt, Cezanne, Van Gogh, Gauguin and Matisse. More than 75 entries exploring nearly 100 objects are punctuated by brief artist biographies that highlight themes of friendship, influence and artistic exchange. Close visual analyses of individual objects are supplemented by contextual illustrations to illuminate the place of these masterworks within the larger story of Impressionism and Post-Impressionism. Particularly rich holdings of works by Bonnard, Cassatt, Degas and Pissarro allow for an examination of the development of their art across media and over time.

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Women of the Avant-Garde 1920-1940 presents eight female artists who made major contributions to Dada, Surrealism, Constructivism and other European avant-gardes of the modernist era: Claude Cahun, Sonia Delaunay, Germaine Dulac, Florence Henri, Hannah Hoch, Katarzyna Kobro, Dora Maar and Sophie Taeuber-Arp. The artists are constellated in relation to one another across five themed sections that illuminate the nature of their respective innovations: Composing Color, Constructing Space, Different Rules, New Identities and Another Reality.

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This novel, much of it written amidst the horror of the trenches when Aragon was a medical orderly during the First World War, demonstrates the chasm that separates the works of the artists and writers of what would become Dadaism and those, say, of the English War poets. Aragon's precisely crafted and sardonic prose reveals a world that is no more than a tragic puppet show, with every scene self-evidently staged. This furious tempest of a book launched Aragon's career and is one the cornerstones of the Paris Dada movement.

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Exhibition at Leicester's New Walk Museum and Art Gallery of 100 works from Lord Richard Attenborough's collection of ceramics by Picasso, in their first ever public display together.

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German photographer Axel H tte (born 1951), trained as part of the D sseldorf School, travels around the world to find photographic subjects which allow him to explore the nature of perception. He has found his subjects in the metropolises of Las Vegas, New York, Tokyo and London, on Alpine glaciers and in the South American jungle. The resulting photographs feature unusual image structures and perceptional phenomena that surprise the viewer, straining the category of documentary photography. The manifestly real is suffused with an air of mystery and unreality in H tte's dimly lit landscapes, illuminated cities photographed with long exposures and scenes that blur the boundaries between architecture and landscape. Night and Day presents around 80 large-format nocturnal and daytime pictures made between 1995 and 2017, including previously unpublished photographs taken in North America, alongside a selection of early works made before 1995.

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In the Soviet era, poet, critic and cultural theorist Victor Tupitsyn had already begun making recordings of his conversations with Russian conceptualist artists in their Moscow kitchens and studios. These recordings were intended for readers who had no access to this group of artists, whose work ran afoul of the official Soviet conceptions of art and thus was not shown in exhibitions. Like many other Russian intellectuals and artists, Tupitsyn emigrated to New York in the 1970s, where he continued the conversations he had begun. Victor Tupitsyn: Vis-a-vision collects Tupitsyn's conversations in full for the first time, featuring interviews with Ilya Kabakov, Boris Mikhailov, Komar&Melamid, Erik Bulatov and the groups Collective Actions and Inspection Medical Hermeneutics as well as many others. This body of interviews is an invaluable historical document of one of the most influential art tendencies of the late 20th century.

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Best known for their challenging collaborative installation works, Russian artists Ilya and Emilia Kabakov here present a series of paintings. Only one square of each gridded painting is filled in with representational imagery. The rest is left a provocative void.

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Carnegie Museum of Art is renowned for its collection of decorative arts and design objects. This volume presents, for the first time, the collection's highlights, from early porcelain to Arts and Crafts furniture to contemporary turned wood. More than 100 illustrated entries detail almost 200 European and American objects from the 1750s to the present. Included are ceramics, furniture, metalwork and glass by noteworthy designers and manufacturers, such as Meissen, Tiffany, Herter Brothers, Marcel Breuer, Peter Voulkos and Ron Arad. Also featured are the museum's important holdings of early western Pennsylvania furniture, innovatively designed chairs, and contemporary glass and aluminum objects.

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Initially known as a theorist exploring the spatial-political implications of the May 1968 uprisings, Bernard Tschumi emerged as an architect of international repute in the 1980s with his Parc de la Villette, a 125-acre cultural park located in northeastern Paris. His buildings and design theory famously draw on an array of disciplines, such as literature, cinema and philosophy. All aspects of the man and his work are examined in Bernard Tschumi, published to accompany a landmark retrospective at the Centre Pompidou. This volume is the most complete and authoritative of any yet published on the celebrated architect: no mere reference book, it boasts a wide selection of previously unpublished designs for cities as varied as Santo Domingo and Dubai, accompanied by the original commissioning plans, sketches and models. Concise case studies complement the projects discussed, walking the reader through the rationale of each design. Essays by Frederic Migayrou, the head of the Centre Pompidou architecture and design department, give insight into Tschumi's thinking; he unfolds and explores conceptual questions of design through the lenses of film, literature, visual art and philosophy, particularly deconstruction. Abstract theory and concrete design intermingle in Tschumi's body of work, as they do in this volume, to produce the radical, deconstructive effect for which he is famed.Bernard Tschumi (born 1944) was Dean of the Graduate School of Architecture, Planning and Preservation at Columbia University from 1988 to 2003. He lives in Paris and New York.