This is the first monograph dedicated to Zeng Fanzhi's long-acclaimed Abstract Landscape series since its initiation in 2002. This unique book illustrates the complete painting process and development behind a singular work, Zeng Fanzhi's Untitled (2018). Part of the Abstract Landscape series, it was acquired in the permanent collection of the Los Angeles County Museum of Art (LACMA). The volume provides a comprehensive eighteen-year overview of Zeng's painting practices in abstraction, pinpointing the latest changes within the series in particular. It features more than 180 high-resolution images of the painting process, starting from a plain canvas fabric, to the application of layers of paint, down to the meticulous intermingling and layering of different color palettes and strokes, ending in a complex pictorial presentation. As such, it offers the reader an intimate glimpse into how Zeng's abstract art is gradually developed, as if one were in the artist's studio. It presents primary, never-before-seen materials that form an overview of the artist's intriguing painting practice. The book includes essays by Michael Govan and researchers from LACMA, as well as a contribution from Dr. Richard Shiff, who has been researching and analyzing the artist for nearly a decade.

Preface by Fabien Fryns. Text by Richard Shiff.

One of the most beloved painters of the twentieth century, Giorgio Morandi created works that continue to exert their mysterious power on viewers worldwide. This publication focuses on the period from 1948 to 1964, during which Morandi developed and refined his investigations of serial, reductive, and permutational forms and compositions, a body of work that has had a profound influence on twentieth-century art and painting. Included here are five of the ten iconic “yellow cloth” paintings from 1952, a series featured prominently in the historic 1998 exhibition at the Peggy Guggenheim Collection in Venice, and numerous late paintings by the Italian master. Lavishly reproduced, these immersive plates draw attention to the idiosyncratic perspectival and color-driven decisions that give the work its abstract power. The catalogue is published on the occasion of the 2015 exhibition of Morandi’s paintings from this period at David Zwirner, New York—which, according to The New York Times, represent “lucid perfection, at once cerebral and impassioned.” It marked the first major presentation of the artist’s late work in America since the acclaimed 2008 retrospective at The Metropolitan Museum of Art, New York. In addition to an essay by Laura Mattioli and a foreword by David Leiber, who organized the exhibition, this catalogue includes a fantastic array of contributions by contemporary artists: John Baldessari, Lawrence Carroll, Vija Celmins, Mark Greenwold, Liu Ye, Wayne Thiebaud, Alexi Worth, and Zeng Fanzhi. They offer their personal responses to Morandi’s work and to the Zwirner exhibition in particular. Working in different media across many disciplines, this diverse list of contributors is a testament to the reach of Morandi’s paintings and their influence on contemporary art.

This foundational anthology maps the emergence of a dynamic new global phenomenon: contemporary Asian art. In 2008, Asia stormed the citadel of the New York art world when two major museums presented retrospectives of Asian contemporary artists: Cai Guo-Qiang at the Guggenheim Museum and Takashi Murakami at the Brooklyn Museum. Meanwhile, in Hong Kong, a painting by Zeng Fanzhi sold for $9.5 million, setting a new world auction record for Chinese contemporary art. The Western art world is still coming to grips with the challenge: it is all about Asia now. This book is the first anthology of critical writings to map the shift in both the nature and the reception of Asian art over the past twenty years. Offering texts by leading figures in the field (mostly Asian), and including more than fifty illustrations in color and black and white, it covers developments in East Asia (including China, Korea, and Japan), South Asia (including India and Pakistan), and Southeast Asia (including Vietnam, Indonesia, and Thailand). Together, the twenty-three texts posit an historical and pan-Asian response to the question, "What is Asian contemporary art?" Considering such topics as Asian modernism ("productive mistranslation" of the European original), Asian cubism, and the curating, collecting, and criticism of Asian contemporary art, this book promises to be a foundational reference for many years to come.

The work of the Chinese artist Jia Aili (*1979 in Liaoning) possesses an unparalleled intensity. Whether reflecting on China's inauguration of the atomic bomb or the first satellites in 1970, the theme of Aili's oil paintings is the dramatic transformation of Chinese society over the past 50 years. The works simultaneously also convey a feeling of wonderment and fascination for the achievements and new possibilities that technological progress offers. It is a feeling Aili has particularly developed in his apocalyptic-seeming desert landscapes, which only allow space for isolated masked figures, usually astronauts. The monograph documents Aili's exhibitions over the past 10 years and shows the young Chinese artist's disparate sources of inspiration with the aid of discussions of individual works.

This is Gagosian’s 500th book. It fittingly marks the achievement, as Chris Burden was among the first artists to work with Larry Gagosian. Chris Burden: Streetlamps is the definitive publication on Burden’s iconic series. Chris Burden: Streetlamps explores the artist’s work with antique streetlamps, which he began to amass in the early 2000s. Burden fully restored 202 streetlamps from the 1920s to create his renowned Urban Light, which was acquired by the Los Angeles County Museum of Art. He realized four more major streetlamp sculptures in both public and private spaces, all of which are lavishly documented here from conception through installation.

This elegant monograph marks Shio Kusaka's first solo exhibition with Gagosian and her first exhibition in Italy. Shio Kusaka's ceramic work often incorporates playful details and subject matter, from basketballs and fruit to dinosaurs, raindrops, and wood grain. However, in this new body of work, she further explores her geometric abstractions, offering a more direct view of her technical mastery as she adheres to a single-process approach to study the possibility of endless permutations. In previous abstract works, Kusaka often ended a line or grid pattern once it became distorted by the curvature of the pot, producing fragmented, interlocking patterns that appear as overlapping drawings, contradicting the three-dimensional volume. In these new works, however, she takes an almost topographic approach by carving, painting, and even drawing with pencil intricate lines along the surfaces of each pot, allowing the shape of each vessel to dictate the curves of the lines.