A debut monograph that showcases Smith's bold experimentation, from her cutting-edge performance art to her earliest paintings, Xerox prints, drawings and sculptureA pioneer of the performance art movement of the late 1960s, Southern California–based Barbara T. Smith (born 1931) has long produced work that explores the self, sexuality, gender roles and spiritual sustenance. While her performances have received critical attention, the objects Smith has made over nearly 60 years—many for, or as a result of, performances—are less known. These include her radical Xerox works, assemblages, sculptures, artist’s books, drawings, paintings, photographs and videos. Smith’s first ever comprehensive catalog is designed by Content Object (C/O). Featuring an illustrated chronology of Smith’s life and artwork compiled by curator Jenelle Porter, the catalog also includes essays by scholars Gloria Sutton, Catherine Taft and Pietro Rigolo, who elaborate upon Smith’s work as it relates to new technologies, ecofeminism and the archive, respectively.

An exploration of Mike Kelley's unique approach to painting as a conceptual medium and his enduring relevance as an artist through responses by various artists that range from art historical analysis to epistolary ode.Published on the occasion of the eponymous 2019–20 exhibition at Hauser & Wirth New York, Mike Kelley: Timeless Painting the publication reproduces twelve series of paintings from 1994 through 2009 alongside responses to Kelley’s work by a diverse group of artists that Porter has invited to contribute: Edgar Arceneaux with Kurt Forman, Carroll Dunham, Daniel Guzmán, Richard Hawkins, Jay Heikes, Jamian Juliano-Villani, Christina Quarles, Mary Reid Kelley, and Laurie Simmons. In writing that ranges from personal anecdote to art historical analysis, cento poem to epistolary ode, these artists consider the enduring relevance of Kelley’s practice both as a painter and as an artist more broadly.

The life and works of Giacomo Balla, from his apprenticeship in Turin to the great futurist moment. In the beginning, Giacomo Balla learned his trade in Turin and entered the cruel, painful reality of society’s underclass with a penetrating, human eye. Parallel to the themes of suffering and alienation, the artist developed an original style with a wealth of glowing streaks, bold contrasts of light and dark, and daring perspective that constituted a unique and extraordinary model for the futurist generation. Later, Balla embraced the poetics of futurism and addressed the themes of modernity in the chromatic synthesis of individual elements of light visible in the Iridescent Interpenetrations. This was followed by an exploration of the new dynamic reality with his Lines of Speed. Balla discovered new categories of representation, and his vision plumbed the greatest depths in order to transcend the limits of the frame in an ever-greater response to life, the ultimate signal of a universal force whose power reverberates in the “voices of nature.”

Architect Peter Eisenman and landscape architect Laurie Olin have been collaborating since 1980 on projects both built and unbuilt. Their key works include the Wexner Center for the Arts and the Holocaust Memorial in Berlin. This first book on their important and unusually egalitarian working relationship offers a revealing look at the development of a 25-year collaboration, beginning with the title work, a recent site-specific environmental installation, and continuing through a survey of their portfolio. Each of the two also maintains an individual practice and teaches: Olin is the Practice Professor of Landscape Architecture and Regional Planning at the University of Pennsylvania and the author of Across the Open Field, Essays Drawn on the English Landscape, and co-author of Vizcaya, An American Villa and its Makers. Peter Eisenman was the first Irwin S. Chanin Distinguished Professor of Architecture at The Cooper Union and is currently the Louis I. Kahn Professor of Architecture at Yale. His books include Diagram Diaries and Chora L Works, co-authored with Jacques Derrida. Fertilizers includes essays by each of them, an interview and many seldom-seen images.

A debut monograph that showcases Smith's bold experimentation, from her cutting-edge performance art to her earliest paintings, Xerox prints, drawings and sculptureA pioneer of the performance art movement of the late 1960s, Southern California–based Barbara T. Smith (born 1931) has long produced work that explores the self, sexuality, gender roles and spiritual sustenance. While her performances have received critical attention, the objects Smith has made over nearly 60 years—many for, or as a result of, performances—are less known. These include her radical Xerox works, assemblages, sculptures, artist’s books, drawings, paintings, photographs and videos. Smith’s first ever comprehensive catalog is designed by Content Object (C/O). Featuring an illustrated chronology of Smith’s life and artwork compiled by curator Jenelle Porter, the catalog also includes essays by scholars Gloria Sutton, Catherine Taft and Pietro Rigolo, who elaborate upon Smith’s work as it relates to new technologies, ecofeminism and the archive, respectively.

An exploration of Mike Kelley's unique approach to painting as a conceptual medium and his enduring relevance as an artist through responses by various artists that range from art historical analysis to epistolary ode.Published on the occasion of the eponymous 2019–20 exhibition at Hauser & Wirth New York, Mike Kelley: Timeless Painting the publication reproduces twelve series of paintings from 1994 through 2009 alongside responses to Kelley’s work by a diverse group of artists that Porter has invited to contribute: Edgar Arceneaux with Kurt Forman, Carroll Dunham, Daniel Guzmán, Richard Hawkins, Jay Heikes, Jamian Juliano-Villani, Christina Quarles, Mary Reid Kelley, and Laurie Simmons. In writing that ranges from personal anecdote to art historical analysis, cento poem to epistolary ode, these artists consider the enduring relevance of Kelley’s practice both as a painter and as an artist more broadly.

The life and works of Giacomo Balla, from his apprenticeship in Turin to the great futurist moment. In the beginning, Giacomo Balla learned his trade in Turin and entered the cruel, painful reality of society’s underclass with a penetrating, human eye. Parallel to the themes of suffering and alienation, the artist developed an original style with a wealth of glowing streaks, bold contrasts of light and dark, and daring perspective that constituted a unique and extraordinary model for the futurist generation. Later, Balla embraced the poetics of futurism and addressed the themes of modernity in the chromatic synthesis of individual elements of light visible in the Iridescent Interpenetrations. This was followed by an exploration of the new dynamic reality with his Lines of Speed. Balla discovered new categories of representation, and his vision plumbed the greatest depths in order to transcend the limits of the frame in an ever-greater response to life, the ultimate signal of a universal force whose power reverberates in the “voices of nature.”

Architect Peter Eisenman and landscape architect Laurie Olin have been collaborating since 1980 on projects both built and unbuilt. Their key works include the Wexner Center for the Arts and the Holocaust Memorial in Berlin. This first book on their important and unusually egalitarian working relationship offers a revealing look at the development of a 25-year collaboration, beginning with the title work, a recent site-specific environmental installation, and continuing through a survey of their portfolio. Each of the two also maintains an individual practice and teaches: Olin is the Practice Professor of Landscape Architecture and Regional Planning at the University of Pennsylvania and the author of Across the Open Field, Essays Drawn on the English Landscape, and co-author of Vizcaya, An American Villa and its Makers. Peter Eisenman was the first Irwin S. Chanin Distinguished Professor of Architecture at The Cooper Union and is currently the Louis I. Kahn Professor of Architecture at Yale. His books include Diagram Diaries and Chora L Works, co-authored with Jacques Derrida. Fertilizers includes essays by each of them, an interview and many seldom-seen images.