D.A.P. – serie

An exquisitely somber portrait of Brooklyn’s Green-Wood cemetery across the seasonsIn March 2020, after suffering from a severe bout of Covid, Eugene Richards sought out a safe place to walk and recuperate, and became entranced with Brooklyn's much-loved Green-Wood Cemetery. Founded in 1837 and proclaimed a National Historic Landmark in 2006, the 487-acre burial ground and arboretum is the final resting place of more than 550,000 people. Over the subsequent years, Richards made nearly 100 visits to Green-Wood, photographing both poetical details and grand vistas in rich color, across the seasons and in all weather, creating lyrical images of snowbound headstones, grand mausoleums, intimate epitaphs, the encroachments of moss on stone and the wear of time on all things. The photographs in Remembrance Garden were taken between April 2020 and September 2023. Richards intersperses his images with names and dates inscribed on grave markers and deeply personal memories, creating a grand and moving portrait of the legendary cemetery.Photographer, writer and filmmaker Eugene Richards was born in Dorchester, Massachusetts, in 1944. Following college and studies with photographer Minor White, Richards joined Volunteers in Service to America (VISTA) and was sent to Arkansas, where he helped found a social service organization and a community newspaper, Many Voices. After publishing his first books—Few Comforts or Surprises: The Arkansas Delta and Dorchester Days—Richards began a 40-year career as a freelance editorial photographer and artist, producing a wide range of stories about the human condition in America and abroad. He has authored 17 photographic and textual books, including Exploding into Life, The Knife and Gun Club, War Is Personal, The Blue Room and, most recently, In This Brief Life. He directed and shot seven short films, including The Rain Will Follow and Thy Kingdom Come. Richards has been the recipient of a Guggenheim Fellowship, the Robert F. Kennedy Lifetime Achievement Journalism Award and the Kraszna-Krausz Book Award for Photographic Innovation.

A major monograph chronicling Thomas’ vibrant, rhinestone-adorned paintingsContemporary African-American artist Mickalene Thomas has created a dramatic body of work that ranges from painting, collage and print to photography, video and immersive installations. The book -- and the exhibition at the Broad Museum on which it is based -- shares its title with the pivotal text by feminist author bell hooks, in which love is an active process rooted in healing, carving a path away from domination and towards collective liberation. Through her probing investigations of pop culture and mass media, Thomas makes a reverberating demand for Black women to be seen and understood, and for viewers to become what hooks calls “practitioners of love.”With influences ranging from 19th-century painting to popular culture, Thomas’ art articulates a complex and empowering vision of womanhood while upending traditional definitions of beauty, sexuality, celebrity and politics. This major publication further affirms Thomas’ status as a key, influential figure in contemporary art. It features notable works that are arranged in thematic chapters throughout the book.The book also features an interview with the artist by Rachel Thomas, and is followed by essays from Beverly Guy-Sheftall, Darnell L. Moore, Claudia Rankine, Ed Schad, Renée Mussai and Christine Y. Kim, which cover her distinct visual vocabulary, drawing on themes of intergenerational female empowerment, autobiography, memory and tenets of Black feminist theory. Together, these essays explore how Thomas subverts art history to reclaim the notions of repose, rest and leisure in works that celebrate self-expression and joy. For the artist, repose is a radical act, pointing to "what is able to happen once you have the agency."Mickalene Thomas (born 1971) is an international, award-winning, multidisciplinary artist whose work has yielded instantly recognizable and widely celebrated aesthetic languages within contemporary visual culture. She is known for her elaborate portraits of Black women composed of rhinestones, acrylic and enamel. Thomas was nominated TIME's 100 Most Influential People of 2025.

The canonical 1977 American photobook returns to print in a new, definitive edition that most closely resembles the originalIn 1977, American photographers Larry Sultan (1946–2009) and Mike Mandel (born 1950) published a book of photographs titled Evidence. The book was the culmination of a two-year search through the archives of 77 government agencies, educational institutions and corporations, including General Atomic Company, Jet Propulsion Laboratories, the San Jose Police Department and the United States Department of the Interior. The original pictures were made as objective records of activities unfamiliar to the lay public: the scenes of crimes, aeronautical engineering tests, industrial experiments and other subjects. Sifting through some two million images, Mandel and Sultan assembled a careful sequence of 59 pictures. The book was thoughtfully designed to depict the photographs in terms of their "documentary" origins, unaccompanied by identifying captions. Faced with a world of mysterious events and unfathomable activities, the reader is confronted with only the sequential narrative imagery of the book and thus must actively participate in creating its meaning.Following a revised edition of the book in 2003 and a 2017 reprint—both of which sold out quickly and have become highly collectible—Evidence is back in print nearly 50 years after its initial publication. This new, definitive edition features revelatory new scans—many made from the original negatives—which greatly enhance the eerie objectivity conveyed by the book's title. In many cases, the original negatives revealed that crops had been made to the image by the agencies; the complete images are restored here. The jacketless, library-style binding of the original 1977 edition is also restored, further underscoring its impersonal documentlike character and its canonical status.

Architecture's most influential, innovative and beloved underground magazine, reissued for the first time in a handsome clamshell boxPublished with Designers & Books.Inspired by comic-book culture, Pop art, psychedelia, the space race, sci-fi, Constructivism and Buckminster Fuller, the hugely influential British collective Archigram was the epitome of 1960s avant-garde architecture. Their self-published, lo-fi but materially ingenious magazine Archigram, begun in 1961, announced their ideas for such visionary concepts as "Walking City," "Plug-In City" and "Instant City." It also served to connect the international avant-garde of the 1960s. Archigram forged links with the Metabolists in Japan, Frei Otto, Utopie and Haus-Rucker-Co in Europe, and Buckminster Fuller in the US. They were also championed by critics such as Charles Jencks and Reyner Banham, who brought Archigram's famous fourth pop-up issue to the US in 1966. Today Archigram is one of the rarest major small-press publications of the 1960s, with individual issues selling for a minimum of $600.Archigram's influence has proved enduring, perhaps most famously in its widely acknowledged impact on Richard Rogers' and Renzo Piano's Centre Pompidou. Its members also taught and influenced the likes of Bernard Tschumi and Zaha Hadid, and inspired a later generation of nineties and noughties modernists embracing the potential of technology such as Future Systems, Foreign Office Architects, Diller Scofidio + Renfro, Anthony Dunne and Fiona Raby.This authorized publication features exact facsimiles of all 10 issues (from number 1 in 1961 to the final issue 9½ in 1974). All the original surprises and idiosyncrasies are faithfully reproduced: flyers, pockets, a pop-up centerfold, posters, gatefolds and an electronic resistor. (Only the seeds in the seed packet attached to issue 9 are not included, as seeds cannot be shipped across borders.) Accompanying the facsimile issues is a fully illustrated reader's guide featuring essays by Peter Cook, David Grahame Shane and Reyner Banham; tributes from the architectural community including Tadao Ando, Kenneth Frampton, Norman Foster, Zamp Kelp, David Rockwell and Patrik Schumacher; an index of key concepts and contents; a scrapbook of previously unseen archival images; a bibliography of the partners' publications; and biographies. This project was conceived and originated by Designers & Books, which acted as consulting editor.The architect-collaborative group Archigram was established in London by Warren Chalk, Peter Cook, Dennis Crompton, Ron Herron, David Greene and Michael Webb. Working together until 1975, the group operated as an experimental think tank, producing a magazine, projects, models, exhibitions and proposals that represented a shift in how architectural practice is considered, prioritizing processes and responsive structures for living over the notion of architecture as a static, form-based commodity. Influenced by popular culture and responding to the proliferation of technological advances at the time, as well as recognizing the increasing social and political discontent, Archigram's production emphasized mobility and flexibility in ways that continue to have currency today.Contributors include: Tadao Ando, Shigeru Ban, Aric Chen, Beatriz Colomina, Mike Davies, Odile Decq, Neil Denari, Norman Foster, Kenneth Frampton, Nicholas Grimshaw, Ivan Harbour, Tom Heneghan, Steven Holl, Bjarke Ingels, Toyo Ito, Zamp Kelp, Reed Kroloff, Toshiko Mori, Laurids Ortner and Manfred Ortner, Juhani Pallasmaa, Mónica Ponce de León, David Rockwell, Moshe Safdie, Annabelle Selldorf, Patrik Schumacher, Alan Stanton, Bernard Tschumi.

The new edition of Salinger’s ever-relevant series of 1980s and ’90s teenagers in their bedroomsBedrooms contain the past, the present and the future; they are sites of continual transformation. Popular culture and fashion continually change and recycle. While specific objects of decor change over time, teenagers' bedrooms are still private sanctuaries: spaces for safely experimenting during a time in life when one is forming and expressing ever-evolving identities.Upon its release in 1995, Adrienne Salinger's book In My Room was an immediate success, selling nearly 24,000 copies in its first few years. The continued popularity of this work made in the '80s and '90s is curious. However, over the nearly 30 years since, and especially in the most recent decade of social media, the work's appeal has grown tremendously. In some cases, the work evokes nostalgia, but not primarily so. Adrienne Salinger hears from current teenagers often; many send her pictures of their bedrooms today. Social media encourages users to endlessly "rebrand" their identities, creating idealized fantasies, striving for perfection. These photographs are not about perfection. They give voice to the contradictions of our identities.Hundreds of print and online articles, interviews and features on In My Room have been published and the work has been exhibited at museums all around the world. Long out of print and now considered a classic, with only a rare few available on the secondary market, the book returns in a new expanded edition as Teenagers in Their Bedrooms. With 26 additional photographs, this treasure is made available once more to new audiences.Adrienne Salinger has published three photobooks: In My Room (1995), Living Solo (1999) and Middle Aged Men (2007). She is Regents Professor Emerita at the University of New Mexico.

The first survey of the Fluxus cofounder’s prolific avant-garde output, from eight-foot-tall books to make-a-salad performancesPublished with University of California, Berkeley Art Museum and Pacific Film Archive.The American artist Alison Knowles' (born 1933) groundbreaking experiments—from painting and printmaking to sculpture and installation, sound works, poetry and artist's books—have influenced art and artists for more than 50 years but remain relatively unknown among mainstream audiences. The first comprehensive volume on the artist, By Alison Knowles: A Retrospective presents more than 200 objects that span the entire breadth of her career, from her intermedia works of the 1960s to forms of participatory and relational art in the 2000s.The accompanying catalog features contributions by international Fluxus curators, historians and scholars, including lead essays by organizer Karen Moss, Hannah B. Higgins and Nicole Woods, and short contributions by co-editor Lucia Fabio, Lauren Fulton, Maud Jacquin and Sébastien Pluot. It also includes reprints of key articles by Benjamin Buchloh, Julia Robinson and Kristine Stiles, as well as a conversation between Alison Knowles and poet George Quasha. Richly illustrated with more than 250 images, the full-color catalog, designed by Kimberly Varella, includes a softcover lay-flat binding, special colored papers for each section, die-cut section dividers and a chronology. The cover of the book is a makeready (press sheets gathered from printing the interior of the book) produced during the printing of the interior pages. Each cover in the edition is unique.