Marquand Books – serie

Chicana painter Judithe Hernández’s subversive female archetypes offer her perspective on the historical and contemporary roles of womenPublished with Riverside Art Museum and The Cheech Marin Center for Chicano Art & Culture.As the fifth and only female member of the art collective Los Four, Judithe Hernández (born 1948) was a figurehead of Chicano/a art in California. She began her artistic career as a muralist in the 1970s, executing commissions for Cesar Chavez and the United Farm Workers Union, and at the Ramona Gardens Housing Project in East Los Angeles. Her paintings and pastel drawings place women against vague, dreamlike backgrounds, clothed in traditional garb or surrounded by animals, gesturing beyond the picture plane while gazing solidly at the viewer. Art historian Margarita Nieto writes that Hernández "speaks of woman hidden in her masks of roles…enhanced by a subconscious precognition of a mythic past." Beyond Myself, Somewhere, I Wait for My Arrival represents the first comprehensive evaluation of Hernández’s 50-year career, and how it has informed Chicano/a artistic practices today.

Retranslating Celan's translations of Shakespeare, Dickinson, Rimbaud and more reveals new insights on the circularity of languageBorn in Romania into a German-speaking family and recognized as one of the most important postwar poets, Paul Celan (1920–70) is also celebrated for his meticulous German translations of a wide range of works by such luminaries as Dickinson, Mandelstam, Rimbaud, Shakespeare and Ungaretti. Inspired by the close relation between Celan’s work as Überträger, or "transmitter," and his own poetry, Holly Cundiff has retranslated some of these works into English to illuminate the interstices in which we catch a glimpse of Celan’s own perspective. Each selection in The Other Voice is presented in three versions: the poem in its original language, Celan’s translation into German and Cundiff’s translation into English directly from Celan’s translation. This circular process highlights the generative and transformative force of language, which Celan viewed as a means not only of sculpting the world but also of forming new worlds.

A career survey of the Los Angeles portrait artist known for his spontaneous, blunt portrayalsPublished with The Huntington Library, Art Museum, and Botanical Gardens.Over the past seven decades, Santa Monica–based artist Don Bachardy (born 1934) has created thousands of visceral, compelling portraits from life. Many of these poignant renderings are of Bachardy's longtime partner, the writer Christopher Isherwood. Other subjects include such famous figures as Bette Davis, W.H. Auden, James Baldwin and David Hockney. This lavishly illustrated volume accompanies the Huntington’s landmark exhibition, which explores the range and depth of Bachardy’s practice. Essays by art critics, biographers and some of Bachardy’s subjects offer fresh perspectives on the work of this inventive artist, setting him in context within a vibrant community of Los Angeles artists, actors, writers and intellectuals. The career survey is filled with evocative portraits and photos from Bachardy’s personal collection, loans from private collections and objects from the Huntington’s extensive collection of Bachardy’s work and Isherwood’s papers.

A long-overdue retrospective dedicated to the 70-year career of Washington Color School pioneer Paul ReedPublished with Oklahoma City Museum of Art.One of the original six members of the Washington Color School, Paul Reed (1919–2015) has often been overlooked in favor of his colleagues Kenneth Noland and Morris Louis. This retrospective shines a light on Reed's extraordinary seven-decade career spanning paintings, sculptures, photography and even computer-generated images.

Lasker's postmodern abstraction meets the Frye collection's turn-of-the-century representationPublished with Frye Art Museum.Since the late 1970s, American painter Jonathan Lasker (born 1948) has cultivated a distinct formal vocabulary of structural grids, graphic scribbled lines and thick impasto strokes of paint. Lasker employs the familiar tools of representational painting—figure and ground, space and perspective—to destabilize its dividing line with abstraction. In keeping with Lasker's line of formal inquiry, this compact volume presents an unlikely yet productive pairing: a selection of the artist's large canvases intermingled with the Frye Art Museum's collection of late 19th- and early 20th-century paintings. Embedded within the museum's salon, Lasker's compositions open unexpected conversations across time, style and painterly intent. The publication includes photographs of the exhibition, as well as a foreword by collector Judy Greenstein, an essay by director Jamilee Lacy that discusses the exhibition in the context of Lasker's overall practice, and an interview between the artist and Lacy.

A deeply researched guide to the periodical that helped shape the Latin American avant-garde of the 1970sPublished with Hunter College Art Galleries .Compiling artworks that appeared in the influential magazine Artes Visuales—published by Mexico's Museo de Arte Moderno and directed by Carla Stellweg from 1973 to 1981—this volume spotlights a community of experimental artists from Latin America. Featuring work by Álvaro Barrios, Luis Camnitzer, Jorge Caraballo, Antonio Caro, Manuel Felguérez, Anna Bella Geiger, Victor Grippo, Cildo Meireles, , Alfredo Portillos, Vicente Rojo, Francisco Toledo, Regina Vater and others, this rigorously researched book testifies to the periodical's daring editorial aim: to establish a space in which Latin Americans could exercise unfettered self-determination. It also includes an interview with Carla Stellweg, essays on painting, page art, photography and performance, as well as a bibliography related to the activities and publications of Stellweg and the circle of artists and critics she gathered on the pages of Artes Visuales.

A bewitching study of magical objects from ancient societies, including Egypt, Mesopotamia, Greece and RomePublished with Toledo Museum of Art.The belief in magic was widespread across ancient Egypt, Mesopotamia, Greece and Rome. In these societies, the world was believed to be populated by divine forces, and magicians (also called sorcerers, witches and shamans) could manipulate supernatural powers through the performance of rituals and recitation of spells to achieve a wide range of aims, including protection from demonic harm, healing various medical ailments, attracting lovers, cursing enemies and even winning in the law courts and at the racetrack. This volume, published on the occasion of the exhibition of the same name at the Toledo Museum of Art, explores how the supernatural was visualized in these societies and how magic was actually practiced in the period from around 2000 BCE to 300 CE. It displays and studies magical objects from each of these regions, including protective objects, written records of spells and images of supernatural beings.

A vital critical resource on the artist who helped transform the landscape of the Bay Area with her public artworksPublished with Oakland Museum of California.The American artist Mildred Howard (born 1945) is best known for her mixed-media assemblages and sculptural installations that engage with memory, place, identity and the Black experience. Her work has been associated with the Black Arts Movement and distinctly Californian aesthetics such as Bay Area expressionism, West Coast conceptual art and San Francisco funk. In recent decades, Howard has produced numerous large-scale public artworks both within the Bay Area and throughout the country. These installations vary from site-specific outdoor environments, to architecturally integrated surface treatments, to stand-alone sculptural objects and structures.This compendium covers the entire scope of Howard's multifaceted, politically engaged practice, featuring a selection of works that represent different aspects of her oeuvre alongside essays and an interview with the artist. Poetics of Memory also includes photographs of Howard's archive and studio commissioned specifically for the volume.

"McMillian endows simple objects with affecting political resonances...There is anger in them, but there is hope too." —FriezePublished with Columbia Museum of Art.Multimedia artist Rodney McMillian (born 1969) conjoins political texts, found domestic materials and archival footage into assemblages that confront the complex histories of class, race, landscape and region that inform American identity. In A Son of the Soil, McMillian trains his eye on the history of landscape representation in the South. Through large-scale abstract expanses painted on old bedding, sculptures constructed from post-consumer objects and archival film footage, McMillian evokes the land's tillage and spoilage, histories of ownership and the charged relationship between land and the body. A Son of the Soil presents a bevy of scholarly essays that examine McMillian's oeuvre, focusing on the artist's interplay between urban industrialism and domestic space, his visual culture and art historical sources and, more broadly, the relationship between a region and a nation.

Revisiting the late Magnum photographer's iconic portrait of a city on the brink of seismic change, with fresh contextual essays and oral histories with notable BostoniansPublished with Boston Athenaeum.In Bostonians, celebrated American photographer Constantine Manos (1934–2025) captures Boston on the brink—of celebration, transformation and unrest. Commissioned for the 1975 Bicentennial exhibition Where's Boston?, Manos' nine-month photographic journey offers a vibrant, nuanced portrait of daily life through street scenes, interiors and public moments. In the 1970s, the city was diverse in age, class, race and religion, and undergoing seismic changes. Manos' photos offer glimpses of the political dissent and grassroots activism that defined the era: anti-busing protests, labor strikes and demands for racial and gender equity.Presented for the first time with contextual essays about the photographer, the series and Boston's urban fabric of the 1970s, this publication revisits the iconic project with fresh insight. It also includes passages from newly conducted oral histories with individuals pictured in the photographs, as well as with politicians, artists and activists who shaped the era.

Celebrating the legacy of Ed Levine through the culmination of his life’s work: Vermont Village, a sculptural environment across 10 acres of woodland.Published with Harpo Foundation.To mark the opening of Ed Levine’s (1935–2020) monumental sculptural environment, Vermont Village, this monograph examines, through a suite of texts, the artist’s contributions to New England contemporary art as a creator, critic, educator and advocate. One essay explores Levine’s early work as an artist and critic to identify the sources of his ideas around perception and the body’s role in artistic experience. A second highlights how Levine translates Thoreau’s themes of solitude and introspection among nature into a public art experience. Two essays focus on Vermont Village; one describes its genesis and construction, the other places the work within the genre of artist-built environments. Rounding out the essays are texts by artists who knew Levine, and a detailed chronology. The book concludes with a selection of Levine’s own writings, chosen for their passionate advocacy for individual creativity.

A long-overdue retrospective on a defining exponent of West Coast studio ceramicsPublished with The Huntington.This is the first-ever comprehensive publication on the Black American midcentury artist Doyle Lane (1925–2002), known for his “weed pots”—delicate, small-scale earthenware vessels with colorful glazes and rich textures, widely represented in the history of California design. This retrospective brings together for the first time the breadth of Lane’s practice, including his early utilitarian pots, clay paintings, decorative objects and beads, as well as the monumental tile murals he created as commissions for Los Angeles architects. Lauren Cross traces Lane’s entire artistic career, from his family heritage and upbringing in New Orleans, to his relationships in the diverse community of Los Angeles’ El Sereno neighborhood and Brockman Gallery in Leimert Park, to his innovative approach to making a living from his art. The volume concludes with personal commentary from Lane himself, from a never-before-published, in-depth interview with two fellow ceramicists in 1988.