Following WWII in Italy, the art movements Spatialism (founded by Lucio Fontana) and Nuclear Art (founded by  Enrico Baj, Sergio Dangelo, and Gianni Bertini) represented a strongly original and alternative artistic vision to an art world divided between Realism and Abstraction. Based on the outstanding Luciano Lanfranchi Collection, this magisterial, groundbreaking, 2-volume publication traces the birth and development of these movements, and offers extensive contextual and critical essays by notable art historians, with full-page and partial-page illustrations and documents, exhibition histories, bibliographies, and interviews.

Scent in Context is a unique document that witnesses the olfactory artist Peter de Cupere’s research, the origins and context of his work and practice, and that offers a view and presentation of more than 500 artworks. 7 authors, 472 pages, more than 1500 illustrations and images, 22 images with 11 different scratch and sniff hidden smells, all make this 3kg book a complete guide to discover the world of olfactory art. The publication will surprise and interact with the reader with soft and beautiful smells but in contrast might also shock while presenting intense or mind-teasing smells. Refine your nostrils when reading this book.

By exploiting the subjective, associative impact of smells, in combination with visual images, Peter de Cupere generates a kind of meta-sensory experience that goes beyond purely seeing or smelling. Plastic artist De Cupere paints with scents, produces olfactory objects, soap paintings and sculptures, creates video and live performances, makes three-dimensional drawings and builds poetic smell installations.

Text in English and Dutch.

Francisco de Goya and Edvard Munch revolutionized art through their groundbreaking pairing of raw realism and unique imaginative power. Exploring inner worlds and existential questions, they had a formative impact on art history and our understanding of our times.

The book is published in conjunction with the exhibition Goya and Munch: Modern Prophecies, the first comprehensive presentation of these two artists in tandem. It is lavishly illustrated with reproductions of all the exhibited works and features texts by Trine Otte Bak Nielsen, Manuela B. Mena Marqués, Janis Tomlinson, Ute Kuhlemann Falck and Ask Salomon Selnes.

A once in a lifetime opportunity to see Hong Kong through the eyes of a legendary artist. Photography by Xeme (and friends) and art directed by Xeme himself this is a unique portrait of a place influx. This pocket size book is an artwork to itself and will transport readers instantly to the streets of today’s Hong Kong.

The exhibition Nasi Per L’Arte was born from the encounter between two curatorial noses belonging to Joanna De Vos and Melania Rossi. The nose is a navigator, guiding us through life; a delicate vehicle that detects and determines. It narrows and dilates at the same time, creating circular communication between the inner and the outer world. For this exhibition and book, a selection of contemporary artists such as Francis Alÿs, Michaël Borremans, Maurizio Cattelan, Laura de Coninck, Mariana Ferratto, Peter de Cupere, Jan Fabre, Mariana Ferratto, Sofie Muller, Luigi Ontani, Daniele Puppi and others, were in dialogue with artists of the permanent collection of Palazzo Merulana, Roma, and with loans of works by Oscar Jespers, René Magritte, George Minne, Constant Permeke, Léon Spilliaert, and others.

Text in English and Italian.

James Wilson Morrice: Paintings and Drawings of Venice is the first comprehensive overview of the artist’s images of Venice, Italy. Living in Paris for most of his life, Morrice (1865–1924) was the first Canadian painter to make regular trips to Venice from the mid 1890s to about 1908. This book situates Morrice within the history of Venice and Venetian art in the late 19th and early 20th centuries by looking carefully at his more than 100 modernist paintings and numerous drawings of “La Serenissima.” During his lifetime, Morrice’s Venetian pictures appeared in art exhibitions in Paris, London and other European countries, as well as in Montreal and the United States. Constantly cited in exhibition reviews, Morrice was praised for his modernity, and his Venice works have ensured his fame and importance for years to come.

This, the first monograph on acclaimed London- and South Wales-based artist Jacqueline Poncelet (b. 1947, Liège, Belgium), surveys 50 years of the artist’s practice. Working across diverse media, Poncelet transforms patterns from urban and rural contexts, exploring how fashions play out in the ways humans dress, decorate living spaces, and shape architecture.
Having trained in ceramics, Poncelet moved into sculpture, painting, and textiles before turning to public commissions. The publication presents works from different eras, including small-scale ceramics from the 1970s, large, brightly colored paintings and textiles from the 1990s, as well as woven textiles, watercolors, and wallpapers made in the 2020s.
The publication, which includes documentation of In the Making, an exhibition by Poncelet at MIMA, Middlesbrough Institute of Modern Art, in 2024, features a foreword by Laura Sillars; an essay by Elinor Morgan; texts by Salena Barry, Claire Doherty, and Penelope Curtis; and an interview by Hettie Judah. 

Live From My Studio is the first book to showcase the Art of Edie Baskin. The pioneering, 2x Emmy-nominated photographer and art director, created the signature look of a show that would transform television, popular culture and influence the people and events that have shaped our lives for 50 years. Her iconic hand-colored portraits of the stars of rock, screen, stage and television were a signature of the show, broadcast to tens of millions of homes every week, reflecting the show’s wit, charm and mischief, captivating generations while reviving a long-lost art form. 

Manhattan Project is a collection of photographs that capture the evolving landscape of Manhattan’s West Side over the past decade. Exploiting the revelatory power of photography, these images explore a city’s architectural transformation.

While Jan Staller’s earlier work focused on industrial decay, these new photographs explore the rise of high-rise construction. By isolating and zooming in on building materials, Staller elevates the ordinary to the extraordinary. The resulting images, reminiscent of drawings or abstract paintings, reveal the hidden beauty and formal qualities of these often-overlooked elements.

This project reimagines the city not as a monolithic entity, but as a composition of intricate details. It celebrates the interplay of light, form and texture, inviting viewers to rethink the familiar and discover the artistic potential of the urban environment.

Text in English and French.

Pahari paintings from the Horst Metzger collection, now in Museum Rietberg Zurich, are outstanding works by Indian masters who worked in the sub-Himalayan region between 1680 and 1850. This lavishly illustrated catalog of the works, which owes itself to a collaboration, yet again, between Prof. B.N. Goswamy and Dr Eberhard Fischer, is filled both with scholarly authority and poetic utterance. The passion with which Horst Metzger assembled this distinguished collection is matched by the text, for it throws open windows to a world of reflection and delight, close observation and soaring imagination. Together, the two scholars have, in earlier years, authored Pahari Masters: Court Painters of Northern India (1980) which accompanied one of the most celebrated and groundbreaking exhibitions in the field. Three decades later (2011), they were together again – along with Dr Milo Beach – editing and writing for the monumental, two-volume, Masters of Indian Painting: 1100-1900 which served as a guide to another path-breaking exhibition, shown at the Museum Rietberg Zurich and the Metropolitan Museum of Art in New York. Contents: B.N.Goswamy: Horst Metzger – The Collector; Catalogue; The Horst Metzger Collection in the Museum Rietberg; Bibliography; Ludwig Habighorst: Horst Metzger – My friend, the Collector.

The masks in this book, all presented by two or more images, are accompanied by brief commentaries that offer readers — be they scholars or enthusiasts — an insight into these veritable masterpieces of African art, which in most cases boast an exceptional pedigree, having been included in the most important international collections of extra-European art.

Even though the works with which Zhang has chosen to surround himself are not all extra-European, as Marco Riccòmini explains in his introduction, offering a broader framework for the interpretation of Zhang’s esthetic choices, we have chosen to devote this elegant and carefully crafted publication to a specific aspect of African material culture.

Text in English and French.

This publication showcases the oeuvre of Irene Nordli, one of the Nordic ceramics scene’s most renowned artists, and examines how her works have evolved over the past three decades. Known for her figurines and porcelain, and the interplay between body and material, her art is presented in a way that interweaves the personal, the artistic, and the historical. My Hands Keep Getting Bigger invites readers to reflect deeply on her creative journey up to her largest solo exhibition at Kunsthall Grenland in 2024. The dialogue between Irene Nordli and Gjertrud Steinsvåg forms the core of the text, highlighting pivotal moments and reflections that have shaped her work. Photographer Thomas Ekström adds a compelling visual layer by capturing the extraordinary in the everyday, while designer Martin Egge Lundell fuses text and image with an experimental approach, challenging the conventional art monograph.

The iconic Dome of the Cathedral of Florence, the largest masonry vault in the world, was built by Filippo Brunelleschi between 1420 and 1436. More than 100 years later, between 1572 and 1579, the vault was decorated with frescos by the artists Giorgio Vasari and Federico Zuccari depicting the Last Judgment. Working with advanced imaging technology, total access, and Italy’s leading art photographer, this book presents in never-before-seen detail and completeness the entire pictorial cycle of the Dome. Contributions by noted art historians Marco Bussagli, Mina Gregori, and Timothy Verdon illuminate the art historical significance of this magnificent symbol of Florence and the Renaissance.

Text in English and Italian.

Calder Now documents an exhibition at the Kunsthal Rotterdam which explores the enduring influence of the work of Alexander Calder (1898-1976) on contemporary art. Shown alongside pieces by Calder himself are works by 10 contemporary artists, including Olafur Eliasson, Simone Leigh, Ernesto Neto, Rirkrit Tiravanija, and Sarah Sze. The text explores the way their work resonates with Calder’s main artistic interests, such as the reflection of light and movement. Three noted art historians elaborate on themes such as the participatory and progressive nature of Calder’s art.

Jane and Raphael Bernstein were early supporters of the innovative teaching practices of the Hood Museum of Art, Dartmouth. This richly illustrated catalog traces the legacy of their gifts of art from 17th-century Japanese handscrolls to 18th-century English satirical prints, from 20th-century American landscape and portrait photography to contemporary art from the Canadian Arctic, plus an extraordinary collection of calligraphic prints and paintings by Japanese centenarian Toko Shinoda. Curatorial essays reveal how the depth and richness of the various collections the Bernsteins have entrusted to the museum increase the range of the work it can do. They have long conceived their gifts of art as part of an overriding project: object-based inquiry. This catalog celebrates the Bernsteins’ support for learning with art, inviting readers to join the museum’s faculty, staff, visitors, and – perhaps most importantly – students who will forever benefit from their generosity.

The complex oeuvre of the American artist Cy Twombly (1928-2011) comprises a time period of around six decades, during which it never lost any of its expressive power. Twombly was one of the most productive artists in the history of more recent art. Acclaimed as one of the most important painters of the second half of the 20th century, he fused the legacy of American Abstract Expressionism with European and Mediterranean culture. The book focuses to a degree never before seen on his major cycles: Nine Discourses on Commodus (1963), Fifty Days at Iliam (1978), and Coronation of Sesostris (2000). The artist’s development as a whole is traced based on nearly 200 paintings, sculptures, drawings, and photographs. This thus provides unique insights into the overall intellectual and sensual richness of the oeuvre. From his early works at the beginning of the 1950s, which are characterized by the use of text, to his compositions of the 1960s, his reaction to the minimal art and conceptual art of the 1970s to his final paintings, the overview of the oeuvre underscores the significance of the series and cycles in which Cy Twombly invented history painting anew. With its polyphonic conception, the monograph offers numerous approaches with essays that shed light on the various aspects and phases of Twombly’s path as an artist. It comprises et al. the reflections and personal impressions of other artists as well as the memories of his assistant Nicola Del Roscio. These diverse testimonies make it possible to discover Cy Twombly not only as an artist, but also as an individual.

“I am the unit of measurement.” Fiete Stolte divides the day into twenty-one hours to create a week with eight days, and thereby centres his works on himself as an object of observation and experimentation. A specially designed clock lends visual expression to his alternate way of calculating time; live projections of Stolte’s showing shifted sleeping cycles serve as time sculptures that portray the artist’s parallel world. For Drawing Your Mirror, Stolte cast his own hand in graphite, making a “pencil” of his index finger; in Eye, the pupil of an eye contains a reflection of the self instead of the outside world. Text in English and German.

This monograph on Susanna Bauer presents the artist’s work to an international audience for the first time in book form. The essential ingredients of Bauer’s artistic production are the ephemeral natural elements that she encounters during walks and hikes in the South-West of the UK where she lives and works. They are leaves, stones, twigs… elements that become the heart of more elaborate creations rendered with crochet – sometimes used conventionally as a decoration, other times as a sculptural means of communication. Bauer’s leaves are airy sculptures in which the artist pursues a balance between strength and fragility. Nature becomes a metaphor for humanity: the artfully interwoven threads remind us that we are all part of a vaster network and therefore generators of connections. But it also stands for life: viewing these works it is impossible not to reflect on the confluences of beauty and vulnerability, resistance and transformation. 

The theme of the relationship between art and nature, and the ensuing interconnections, are investigated both through Bauer’s original work and in an introductory essay that analyses her œuvre within the broader context of the history of art.

The first monograph on an American abstract artist of unparalleled subtlety.

James Howell (1935-2014) was an American abstract artist who used infinite variations of the color gray to explore the fundamentals of light, space, time, and [kinesthetic] perception. He appreciated the color’s mystery, softness, simplicity, and capaciousness. His precise, systematic methods, developed over many years, yielded accomplished square paintings and works on paper. Their subtle revelations — absent of illusion, narrative, and symbolic references — expand in the viewer’s consciousness. In this comprehensive first monograph, Alistair Rider traces Howell’s artistic evolution, from the beginnings of his career in the early 1970s through the artist’s greatest achievement — the group of abstractions called Series 10, which occupied the last two decades of his life. Rider’s multi-faceted essay also chronicles Howell’s biography, including his early studies and accomplishments in architecture, and offers several interpretive frameworks for Howell’s oeuvre, notably a connection to East Asian philosophies. The beautifully produced book presents dozens of full-color plates of artworks and exhibitions, and Rider’s essay is thoroughly illustrated with archival images and documents from the James Howell Foundation. This publication makes a critical contribution to the reevaluation of an artist whose studies of light into shadow have for many years been in a dynamic conversation with recognized trends in contemporary art.

Bouke de Vries, based in London, gets the viewer thinking with his extraordinary artworks of broken porcelain and discarded shards. He creates extraordinary works of art from broken porcelain and pottery and discarded shards. With these he makes the viewer think about what beauty and perfection are. This combination of craftsmanship and creativity makes his art both visually impressive and conceptually stimulating. De Vries’ museum work is included in many leading international collections and he is represented by leading international galleries. This book presents an overview of the highlights of his career, in which he plays with the theme of decay and recovery. In his still lifes, relics and large installations, Bouke de Vries respects the history of objects, but adds humor and depth. The observant viewer experiences how the life of an object through the ages changes its owner, context and meaning. Several international art critics wrote a contribution for this book.

Text in English and Dutch.

JR uses the street as a canvas for his monumental photographic collages. His participatory projects (28 Millimeters, Face 2 Face, …) involve local communities. He launched Inside Out, a worldwide project inviting everyone to express themselves through images. He also explores cinema (Visages, Villages with Agnès Varda, awarded in Cannes) and creates spectacular installations (Louvre, Rio Olympics). His committed art, somewhere between poetry and activism, transforms public space into a universal gallery.

This book puts New York in the spotlight. Since 2006, JR’s collages have marked the life of New York, and several of his most important projects have been set up in this cosmopolitan city: Unframed at Ellis Island, in collaboration with Robert de Niro (2014), The Chronicles of New York City in front of the Brooklyn Bridge (2024), or the immense collaborative collages, such as the one in Times square or Flatiron plaza. An introductory text by The New Yorker’s editorial director, Françoise Mouly, offers a fresh look at this work.

Super Strike presents a behind the scenes perspective of one of Japan’s leading graffiti writers and urban artists. Hailing from Hiroshima, Suiko’s art has allowed him to travel extensively and Super Strike is a rare glimpse into his personal life as he likes to spin tunes, go skateboarding and illustrate manga comics. Super Strike presents his artistic versatility, highlights the global demand for his work and presents a dialog between his Japanese heritage, his artistic influences and the communities he visits and collaborates with. Super Strike is a unique document that exists to educate and inspire.