A new comprehensive monograph on the work of an enduring icon of contemporary art. Compiled in close collaboration with the artist and unprecedented in its scope, this definitive book collects ten years of Tracey Emin's drawings, paintings, sculptures, appliqu#65533;s and embroideries, neons, video stills, and installations. A multimedia artist whose intensely personal work blurs the boundaries between art and life, Emin remains one of the most highly publicized contemporary British artists and continues to stir as much controversy as she has acclaim. Moving chronologically through a prolific decade of work--from major public installations to recent reflective paintings and sculptures--this book shows a coherent vision that defies the idiosyncrasies of Emin's evolution as an artist. The same mixture of anger, hope, curiosity, and vulnerability that informs her delicate drawings and handwritten neon works can be felt in the darker tones of recent monoprints and the weight of later bronze pieces. Written by Jonathan Jones, whose text places Emin's work in a broad art-historical context and sees this recent decade of her artwork as an entry point to examining her full career, this is a beautiful monograph on one of the world's most influential living artists.

Since the beginning of her career in Belgrade in the late 1960s, Marina Abramovic has been a pioneer of performance art, creating some of the most important works in the field. Marina Abramovic: The Artist is Present accompanies an exhibition at The Museum of Modern Art that documents approximately fifty of the artist's ephemeral, time- and media-based works from throughout her career. The book will also discuss a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by the artist herself; and recreations of Abramovic's works by other performers - the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions, and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Its essays examine Abramovic's ideas of time, duration, and the reperformance of performance art as a way to extend it into posterity. Marina Abramovic also includes a CD, an audio recording of the artist's own voice, guiding the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.

Published for '21st Century: Art in the First Decade', an exhibition organized by the Queensland Art Gallery and held at the Gallery of Modern Art, Brisbane, Australia, 18 December 2010-26 April 2011
Catalog of the exhibition

This updated edition of MoMA Highlights: 350 Works from The Museum of Modern Art is a revised consideration of the Museum's superlative collection. With about the addition of 100 new works since the 2004 edition, this volume presents a chronological overview of some of the most significant modern and contemporary artworks through superb high-resolution images and short texts by MoMA curators. MoMA Highlights interweaves works from each of the Museum's curatorial departments - painting and sculpture, drawings, prints and illustrated books, photography, architecture and design, film, and media and performance art - to provide a look at one of the premiere art collections in the world.

Marking an important moment in the Art Institute of Chicago's 136-year history, this book documents an exceptional gift to the museum: the Edlis/Neeson Collection, consisting of 44 stellar works of contemporary art. Among the highlights are major paintings by some of the 20th century's best-known artists, including Jasper Johns, Roy Lichtenstein, Robert Rauschenberg, Gerhard Richter, Cy Twombly, and Andy Warhol. Also included in the gift are paintings, photographs, and sculptures by icons of contemporary art such as Damien Hirst, Jeff Koons, and Cindy Sherman. This catalogue places the Edlis/Neeson Collection in direct dialogue with works already in the Art Institute's holdings. An essay by James Rondeau situates the gift in the context of the museum's history and uses it to illustrate the growth and development of Pop Art.

In 1998 we published cream, which initiated our 10x10 formula: Phaidon asked 10 curators to select 10 emerging artists. Among the 100 chosen many are now established artists, including Maurizio Cattalan, Tacita Dean, Olafur Eliasson and Thomas Hirschhorn, positioning the Cream series at the pinnacle of contemporary art surveys. Ice Cream reveals the next generation of emerging artists as selected by a fresh group of curators--Sergio Edelsztein, Jens Hoffmann, Lisette Lagnado, Midori Matsui, Shamim Momin, Pi Li, Gloria Sutton, Olesya Turkina, Philippe Vergne, and The Wrong Gallery.

*Carolee Schneemann is the recipient of the Golden Lion for Lifetime Achievement Award at the 57th Venice Bienalle 2017* Carolee Schneemann is one of the most important artists of the postwar period. Her work in a range of media--painting, film, video, dance and performance, constructions and installations, the written word, and assemblage--presents an unparalleled catalogue of radical aesthetic experimentation. Meat Joy, 1964; Fuses, 1964-66; Up To and Including Her Limits, 1973-1976; Interior Scroll, 1975, are now considered canonical projects, required entries in any meaningful account of contemporary art, belying their once notoriety as feminist challenges of the very concept of the art historical canon. Throughout the last fifty years, Schneemann has participated in the most significant formulations of the avant-garde, having made crucial contributions in Fluxus, happenings, expanded cinema, and performance cultures, while complicating generic definitions that might cohere to her work. Schneemann has been the subject of numerous exhibitions and publications throughout her career, and her work is in the collections of Tate Modern, Commune di Milano, Centre Georges Pompidou, Muzeum Wspczesne Wroclaw, Whitney Museum of American Art and the Museum of Modern Art.

Barbara Kruger (born 1945) fuses picture- and word-based art to engage issues of power, pleasure, money, love and death. Her photographs, large-scale installations and immersive, multichannel video rooms address the viewer through an intensely spatialized visual display. Though Kruger's art often imitates advertising, it is the overwhelming disparity between her work and the commercial forms she imitates that compels us to consider her work: instead of the advertisement we are conditioned to expect, we are instead confronted with problematic social attitudes, issues and stereotypes. In this volume, her oeuvre is examined from various perspectives in an in-depth conversation between Kruger, Beatriz Colomina and Mark Wigley. Designed in close cooperation with the artist, this catalogue documents the Belief & Doubt installation at Kunsthaus Bregenz, demonstrating the enormous social currency of Kruger's artistic statements and her powerful forms of address.

In this latest work by Bruce Nauman, first mounted to great acclaim at the Dia Art Foundation in 2001, Nauman presents seven large-scale projections of his New Mexico studio interior. Forty-two hours of tape were shot over 42 nights using infra-red lenses, and reveal the basic preconditions for his artistic production: his empty studio.

Andy Warhol spent his career working so prodigiously as to assure longlasting renown. In the printmaking field alone, his output was prolific, and his appropriation of silkscreen as a fine art medium forever altered the way prints look. This thoroughly revised and expanded fourth edition of Andy Warhol Prints: A Catalogue Raisonne 1962-1987 traces Warhol's complete graphic oeuvre from his first unique works on paper in 1962 through his final published portfolio in 1987. More than 1,700 works are illustrated, an increase of 500 from the previous edition of the catalogue raisonne, and complete documentation is provided for each. New additions include a section focusing on Warhol's popular portraits, with documentation of prints that were related to paintings commissioned during the 1970s and 1980s, and a new supplement featuring prints and illustrated books from the 1950s, including the beloved 25 Cats Named Sam and One Blue Pussy. An essay by Donna De Salvo addresses Warhol's self-published books and portfolios from the same era. An extensive chronology of printmaking activity, a complete exhibition history, a selected bibliography and a greatly expanded appendix to published prints complete the book.

Magnificent in scope, design and scholarship, this essential volume is the first comprehensive LeWitt monograph published since the artist's death, and the first overview since 2000. Besides gathering visual documentation of LeWitt's wall drawings and his sculptures-or "structures" as he preferred-the publication also includes his complete writings; spreads from his artist's books; plus interviews and essays by virtually every artist and author closely associated with LeWitt, among them Lucy Lippard, Rosalind Krauss, Mel Bochner, Dan Graham and Robert Smithson. One of the most important artists of the twentieth century, LeWitt at last receives the definitive treatment of his work in this volume. In his 1967 "Paragraphs on Conceptual Art," Sol LeWitt set out the fundamental principle of his artistic practice: "In conceptual art the idea or concept is the most important aspect of the work.... The idea becomes a machine that makes the art." From the first wall drawing in 1968 until his death in 2007, LeWitt never ceased to develop new "machines," conceiving some 1,200 wall drawings and laying down the foundations of Conceptual and Minimalist art. LeWitt's wall drawings, always installed by assistants, eliminated any intermediary object (such as a canvas) between the work and its support, thereby dovetailing a sensuous material immediacy with a powerful Platonic detachment. His sculptural variations on grids, cubes and pyramids likewise project this moving simplicity and clarity.

Drawing has recently experienced a renewal of importance in the art world; in fact, it has rarely been as widely represented in the biennials, art fairs, and exhibitions as it is now. Similar in concept, scope and structure to Phaidon's successful volume Vitamin P, Vitamin Dpresents, in A to Z order, the work of 109 artists who have emerged internationally since 1990 using the medium of drawing. Whether representational or abstract, small or large in scale, using only one line or rich in colors and pattern, drawings have a highly descriptive and meticulously detailed quality that is being explored by an increasing number of contemporary artists. Extending beyond the traditional image associated with this medium, Vitamin Dhopes to illustrate the complexity, variety, and relevance of the practice of drawing today.