As seen in The New York Times, Vanity Fair, and ELLE Decoration

A celebration of more than 300 groundbreaking women sculptors that surveys 500 years of creative ingenuity from around the world

Presenting a more expansive and inclusive history of sculpture, Great Women Sculptors surveys the work of more than 300 trailblazing artists from over 60 countries, spanning 500 years from the Renaissance to the present day.

Organized alphabetically, each artist is represented by an image and newly commissioned text. This wide-ranging survey champions the best-known women sculptors from art history alongside today's rising stars. From more recognizable names such as Camille Claudel, Gego, Barbara Hepworth, and Yayoi Kusama to some of today's most significant contemporary artists including Huma Bhaba, Mona Hatoum, and Simone Leigh, this book showcases 500 years of sculptural creativity in one accessible, visually stunning volume.

Artists featured, in A-Z order by surname: Magdalena Abakanowicz; Alice Adams; Kelly Akashi; Jane Alexander; Shaikha Al Mazrou; Olga de Amaral; Janine Antoni; Ruth Asawa; Tauba Auerbach; Ghazaleh Avarzamani; Alice Aycock; Margarita Azurdia; Leilah Babirye; Nairy Baghramian; Natalie Ball; Rina Banerjee; Fiona Banner aka The Vanity Press; Rosa Barba; Phyllida Barlow; Yto Barrada; Mária Bartuszová; Rana Begum; Nina Beier; Patricia Belli; Lynda Benglis; Lauren Berkowitz; Sarah Bernhardt; Huma Bhabha; Alexandra Bircken; Cosima von Bonin; Monica Bonvicini; Chakaia Booker; Louise Bourgeois; Carol Bove; Beverly Buchanan; Heidi Bucher; Dora Budor; Angela Bulloch; Teresa Burga; Seyni Awa Camara; Elaine Cameron-Weir; Nina Canell; Jodie Carey; Claudia Casarino; Rosemarie Castoro; Elizabeth Catlett; Helen Chadwick; Judy Chicago; Saloua Raouda Choucair; Chryssa; Lygia Clark; Camille Claudel; Marie-Anne Collot; Gisela Colon; Marta Colvin; Fiona Connor; Nicola Costantino; Petah Coyne; Anne Seymour Damer; Vanessa da Silva; Paula Dawson; Berlinde De Bruyckere; Agnes Denes; Abigail DeVille; Karla Dickens; Tara Donovan; Sokari Douglas Camp; Mikala Dwyer; Abastenia St. Leger Eberle; Nicole Eisenman; Vaska Emanuilova; Tracey Emin; Ayse Erkmen; Helen Escobedo; Tamar Ettun; Claire Falkenstein; Alia Farid; Monir Shahroudy Farmanfarmaian; Simone Fattal; Félicie de Fauveau; Lara Favaretto; Maria Faydherbe; Rachel Feinstein; Sonja Ferlov Mancoba; Teresita Fernández; Sylvie Fleury; Ceal Floyer; Laura Ford; María Freire; Nancy Fried; Elisabeth Frink; Katharina Fritsch; Meta Vaux Warrick Fuller; Sue Fuller; Anya Gallaccio; Lily Garafulic; Adebunmi Gbadebo; Gego; Isa Genzken; vanessa german; Sonia Gomes; Dora Gordine; Sheela Gowda; Laura Grisi; Nancy Grossman; Gu Erniang; Guan Xiao; Shilpa Gupta; Fiona Hall; Lauren Halsey; Anthea Hamilton; Han Sai Por; Siobhán Hapaska; Rachel Harrison; Emma Hart; Auriea Harvey; Maren Hassinger; Mona Hatoum; Holly Hendry; Camille Henrot; Barbara Hepworth; Gertrude Hermes; Eva Hesse; Sheila Hicks; Nancy Holt; Jenny Holzer; Rebecca Horn; Roni Horn; Harriet Hosmer; Klára Hosnedlová; Marguerite Humeau; Anna Hyatt Huntington; Cristina Iglesias; Iman Issa; Ann Veronica Janssens; Madeleine Jouvray; Katarzyna Józefowicz; Caterina de Julianis; Nadia Kaabi-Linke; Reena Saini Kallat; Edith Karlson; Bronwyn Katz; Clementine Keith-Roach; Zsófia Keresztes; Rachel Khedoori; Bharti Kher; Kimsooja; Katarzyna Kobro; Käthe Kollwitz; Elza Kövesházi-Kalmár; Brigitte Kowanz; Kitty Kraus; Shigeko Kubota; Shio Kusaka; Yayoi Kusama; Alicja Kwade; Nicola L.; Marcelle Renée Lancelot-Croce; Artis Lane; Greer Lankton; Liz Larner; Lee Bul; Marie-Louise Lefèvre-Deumier; Simone Leigh; Jac Leirner; Sherrie Levine; Hannah Levy; Edmonia Lewis; Tau Lewis; Liao Wen; Liliane Lijn; Kim Lim; Won Ju Lim; Laura Lima; Maya Lin; Lin Tianmiao; Tayeba Begum Lipi; Rita Longa; Liza Lou; Sarah Lucas; Savia Mahajan; Anna Maria Maiolino; Anina Major; Tosia Malamud; Rebecca Manson; Teresa Margolles; Marisol; Maria Martins; Rebeca Matte; Rita McBride; Andrea de Mena; Lindsey Mendick; Marisa Merz; Annette Messager; Marta Minujín; Mary Miss; Kazuko Miyamoto; Nandipha Mntambo; Anna Morandi Manzolini; Delcy Morelos; Mariko Mori; Blanche-Adèle Moria; Annie Morris; Meera Mukherjee; Mrinalini Mukherjee; Vera Mukhina; Portia Munson; Wangechi Mutu; Ethel Myers; Rei Naito; Ana Navas; Senga Nengudi; Rivane Neuenschwander; Louise Nevelson; Otobong Nkanga; Tomie Ohtake; Precious Okoyomon; Füsun Onur; Meret Oppenheim; Chana Orloff; Virginia Overton; Katrina Palmer; Lygia Pape; Cornelia Parker; Helen Pashgian; Jennifer Pastor; Katie Paterson; Beverly Pepper; Judy Pfaff; Julia Phillips; Patricia Piccinini; Cathie Pilkington; Paola Pivi; Liliana Porter; Marjetica Potrc; Jane Poupelet; Germaine Richier; Clara Rilke-Westhoff; Luisa Roldán; Annabeth Rosen; Properzia de' Rossi; Eva Rothschild; Michal Rovner; Nancy Rubins; Kathleen Ryan; Veronica Ryan; Alison Saar; Betye Saar; Niki de Saint Phalle; Takako Saito; Doris Salcedo; Augusta Savage; Mira Schendel; Lara Schnitger; Claudette Schreuders; Dana Schutz; Irena Sedlecká; Usha Seejarim; Tschabalala Self: Beverly Semmes: Arlene Shechet: Shen Yuan; Alyson Shotz; Mary Sibande; Ayesha Singh; Lucy Skaer; Kiki Smith; Renee So; Valeska Soares; Monika Sosnowska; Diamond Stingily; Jessica Stockholder; Michelle Stuart; Alina Szapocznikow; Sarah Sze; Sophie Taeuber-Arp; Dorothea Tanning; Lenore Tawney; Alina Tenser; Tatiana Trouvé; Anne Truitt; Shirley Tse; Sara VanDerBeek; Paloma Varga Weisz; Joana Vasconcelos; Cecilia Vicuña; Claude Vignon; Ursula von Rydingsvard; Kara Walker; Meg Webster; Nicole Wermers; Pae White; Rachel Whiteread; Gertrude Vanderbilt Whitney; Alison Wilding; Hannah Wilke; Jackie Winsor; Betty Woodman; Yamazaki Tsuruko; Haegue Yang; Kennedy Yanko; Lena Yarinkura; Anicka Yi; Yin Xiuzhen; Daisy Youngblood; Andrea Zittel.

A major new survey of American sculpture, exploring how it both reflects and redefines concepts of race and identity in the United States

How does American sculpture intersect with the history of race in the United States? The three-dimensional qualities of sculpture give it a distinct advantage over other art forms in capturing a subject's likeness, and our minds can swiftly conjure a body and racialize it from the most minimal of prompts. The Shape of Power examines the role of American sculpture, from the nineteenth century to today, in understanding and constructing the concept of race in the United States and how this medium has shaped the way generations have learned to visualize and think about race.

Exploring the relationship between sculpture and ideas about race in the United States, this book provides fresh perspectives on artists ranging from Hiram Powers, Edmonia Lewis, and Augusta Savage to Barbara Chase-Riboud, Titus Kaphar, Raven Halfmoon, Sanford Biggers, Betye Saar, Yolanda López, and Simone Leigh. It reveals how sculptors use this versatile medium to challenge discriminatory ideologies and entrenched social and cultural constructions of race while offering bold new visions of community, identity, and selfhood.

Featuring superb illustrations of sculptural works in a broad range of media, The Shape of Power contributes new scholarship to the understudied field of American sculpture, which hasn't been the subject of a major publication survey in more than fifty years.

Published in association with the Smithsonian American Art Museum, Washington, DC

Exhibition Schedule
Smithsonian American Art Museum, Washington, DC
November 8, 2024-September 14, 2025

Every day, we use plastic products. And where do these items go when we are done with them?

When artist Angela Haseltine Pozzi found plastic trash polluting the beach near her home, she took action. She formed an organization called Washed Ashore and started gathering trash from beaches and using it to create incredible sculptures of wildlife. These sculptures travel the country to teach people about the importance of these animals--and the problems caused by plastic pollution.

Author and photographer Kelly Crull highlights fourteen spectacular sculptures, along with hints to find common objects hidden among the debris. There's information about each ocean animal as well as tips for how you can reduce your plastic use, hold a beach cleanup and make your own plastic art. Be inspired to get creative in protecting the world's oceans!

Best known for her sinuous looped-wire sculptures, Ruth Asawa (1926-2013) used everyday materials to create endlessly innovative works in a variety of media over her more than six-decade-long career, from her student days at the experimental Black Mountain College in the 1940s through her mature years in her adopted home city of San Francisco.

This extensively illustrated volume explores the astonishing expansiveness of Asawa's work, from the abstract looped-wire sculptures for which she garnered national attention in the 1950s to her nature-inspired tied-wire pieces, clay and bronze casts, paperfolds, paintings, drawings, sketchbooks, and prints. The book explores the ways in which her longtime San Francisco home and garden served as the epicenter of her creative practice, and highlights the ethos of collaboration and inclusivity that informed her numerous public sculpture commissions and unwavering dedication to arts advocacy.

Essays and other writings consider Asawa and her work within the context of modern abstract sculpture, through the lens of craft and the materiality of wire, and in relation to her Asian American identity and her personal history as a Japanese American who was incarcerated with her family during World War II. Focus texts illuminate the connections between Asawa and key artistic figures such as Josef Albers, Imogen Cunningham, and R. Buckminster Fuller, with whom she maintained enduring relationships.

Published in association with the San Francisco Museum of Modern Art

San Francisco Museum of Modern Art
(April 5-September 2, 2025)

The Museum of Modern Art, New York
(October 19, 2025-February 7, 2026)

Guggenheim Museum Bilbao, Spain
(March 20-September 13, 2026)

Fondation Beyeler, Riehen/Basel, Switzerland
(October 18, 2026-January 24, 2027)

Certain symbols abound in modern Western culture that are instantly recognizable: the cross signifies Christianity, the six-pointed Star of David is revered by Jews, the golden arches frequently means it's time for lunch. Other symbols, however, require a bit of decoding-particularly those found in cemeteries.

Cemeteries are virtual encyclopedias of symbolism. Engravings on tombstones, mausoleums and memorials tell us just about everything there is to know about a person- date of birth and death as well as religion, ethnicity, occupation, community interests, and much more. In the fascinating new book Stories in Stone: The Complete Guide to Cemetery Symbolism by noted author Douglas Keister, the secrets of cemetery symbolism are finally revealed. For instance, did you know that it is quite rare to see a sunflower on a tombstone? Did you know that the human foot symbolizes humility and service since it consistently touches the earth? Or the humble sheaf of wheat-while it is often used to denote someone who has lived a long and fruitful life, do you know other meanings it might carry?

Stories in Stone provides history along with images of a wide variety of common and not-so-common cemetery symbols, and offers an in-depth examination of stone relics and the personal and intimate details they display-flora and fauna, religious icons, society symbols, and final impressions of how the deceased wished to be remembered. Douglas Keister has created a practical field guide that is compact and portable, perfect for those interested in family histories and genealogical research, and is the only book of its kind that unlocks the language of symbols in a comprehensive and easy-to-understand manner.

Though women of the Northwest Coast have long carved poles, canoes, panels, and masks, many of these artists have not become as well known outside their communities as their male counterparts. These artists are cherished within their communities for helping to keep traditional carving practices alive, and for maintaining the dances, songs, and ceremonies that are intertwined with visual art production. This book, and an associated exhibition at the Audain Art Museum, gathers a range of sculptural formats by Indigenous women in order to expand the discourse of carving in the region.

Both the exhibition and publication are co-curated by Dana Claxton, artist, filmmaker and head of the University of British Columbia's Department of Art History, Visual Art and Theory; and Dr. Curtis Collins, the AAM's Director & Chief Curator. Commentaries by Skeena Reece, Claxton, and Marika Swan, and interviews with artists Dale Campbell and Mary Anne Barkhouse are presented alongside more than one hundred artworks from public and private collections across North America, including several newly commissioned pieces.

Featured artists include:

• Ellen Neel (Kwakwaka'wakw, 1916-1966)
• Freda Diesing (Haida, 1925-2002)
• Doreen Jensen (Gitxsan, 1933-2009)
• Susan Point (Musqueam, b. 1952)
• Dale Campbell (Tahltan, b. 1954)
• Marianne Nicolson (Kwakwaka'wakw, b. 1969)
• Arlene Ness (Gitxsan, b. 1970s)
• Melanie Russ (Haida, b. 1977)
• Marika Swan (Nuu-chah-nulth, b. 1982)
• Morgan Asoyuf (Ts'msyen, b. 1984)
• Cori Savard (Haida, b. 1985)
• Cherish Alexander (Gitwangak, b. 1987)
• Stephanie Anderson (Wetsuwet'en, b. 1991)
• Veronica Waechter (Gitxsan, b. 1995)

Camille Claudel (1864-1943) was among the most daring and visionary sculptors of the late nineteenth century. Although much attention has been paid to her tumultuous life--her affair with her mentor, Auguste Rodin; the premature end to her career; her thirty-year institutionalization in an asylum--her art remains little known outside of France. Memorably praised by critic Octave Mirbeau in 1895 as a revolt of nature: a woman of genius, Claudel was celebrated for her brilliance during a time when women sculptors were rare.

Featuring more than two hundred photographs along with contributions from leading experts, this publication accompanies the first comprehensive survey of Claudel's oeuvre in nearly forty years. With essays exploring the many facets of her life, work, and reception; a biography; commentary by American sculptor Kiki Smith; and a fascinating appendix of documents written by Claudel and her contemporaries, this volume reevaluates the artist's work on its own merits and repositions her legacy within a more complex genealogy of modernism.

This volume, copublished with The Art Institute of Chicago, accompanies an exhibition on view at The Art Institute of Chicago from October 7, 2023, to February 19, 2024 and at the J. Paul Getty Museum at the Getty Center from April 2 to July 21, 2024.

As the first comprehensive avant-garde of the twentieth century, Italian Futurism sought to integrate modern life with every imaginable aesthetic medium. The detached materiality of sculpture offered a singular proving ground for the drive to merge art and existence. Sculpture's theory and practice offers a distillation of Futurism's larger aims and frustrations: a will to mechanize haunted by the tradition of craft; the liberation of flight burdened by mass and gravity; the lyrical mutiny of form chastened by the exigencies of design; and a dream of totality splintered by the contingency of the fragment.

Centered on avant-garde sculpture in Italy and other European countries between the world wars, Fragments of Totality ventures a new history of Futurism and its fraught ideological ambitions. Illuminating understudied works by prominent artists like Giacomo Balla, Enrico Prampolini, Fortunato Depero, and Bruno Munari alongside the efforts of many lesser-known figures, this first major study of Futurist sculpture opens onto wider questions: from labor and leftist Futurism, to the politics of aesthetic autonomy, to the intersections between race, imperialism, and materials. The medium--and the idea--of sculpture sets into relief the demands of any project of modern cultural totality. Futurism's shifting definitions of plasticity underscore the volatile political economy not only of interwar Italy, but also perhaps of a wider Western epoch.

Among the greatest artistic expressions of all time, the woodcuts of German Renaissance master Albrecht Dürer bring to life iconic religious themes and secular subjects. Rendered in a unique perspective and exacting detail, this complete collection of all Dürer woodcuts traces his creative development from his years as an apprentice in Nuremburg beginning in 1486 to his last works in the fi rst quarter of the 16th century.

During this span he created many now-famous works depicting sacred motifs, such as the Life of the Virgin, The Revelations of Saint John, Samson Killing the Lion, the Great Passion, and The Last Supper. His equally profound woodcuts of secular subjects include portraits, vivid depictions of mythical creatures, and studies of court and village life, and of animals and the human form. Presented in approximate chronological order, the collection follows the evolution of Dürer's skill and style as, over time, he portrayed images in a freer and less crowded perspective.

A guide to the plates by Dr Willi Kurth cites Dürer scholars discussing proof of authenticity and provides a historical context for each work. This collection is a must for artists and students of Dutch art history; casual art observers will be enchanted by these renderings which framed the vision of that age.

This book is also available from Echo Point Books as a paperback (ISBN 1635619181).

Is there art after modernism? Many of today's art students and professionals are finding the answer -- yes -- lies in the long-neglected field of figurative sculpture, a demanding form of expression that requires extremely rigorous technical training. Most modern schools, however, are simply not equipped to provide the necessary technical background. The republication of this highly valuable text by Edouard Lanteri, renowned teacher, sculptor, and intimate friend of Rodin (Rodin called him my dear master, my dear friend), makes it possible for serious students to gain the requisite skills and bridge the gap between artistic concept and figurative realization. Representing at least three thousand years of studio lore, this readily understandable, authoritative guide is a goldmine of technical information, easily comprising a four-year sculpture curriculum unavailable elsewhere.
Beginning with a detailed study of modelling a head from a cast model, Lanteri gives meticulous descriptions of the anatomical features that comprise the head. Next, there are instructions for sculpting a bust from a live model: how to place the model, use the clay, take measurements, set up the all-important framework, put on hair, etc. The author also covers modelling the figure from nature, including such factors as the scale of proportions, posing the model, the chief line, contrasts of line, building up the figure, and more.
Part III covers sculpting in relief (poses, fixing the background, tools, superposition of planes, color, change of light, etc.); drapery (arrangement of folds, principles of radiation, flying drapery, etc.); and medals (proportion, working the mold, inscriptions, etc.). Also discussed are principles of composition, both in relief and in the round. Profusely illustrated with hundreds of photographs, drawings, and diagrams, this work is the kind of comprehensive resource that should be a lifelong studio companion to the figure sculptor. 107 full-page photographic plates, 27 other photographs, 175 drawings and diagrams.

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Explore the beauty of water birds by using these templates to create your own collection. Created by master carver and wildlife illustrator Anthony Hillman, these templates for 12 species of water birds show you everything you need to know to skillfully craft each one.

Species included are:

Atlantic Puffin

American Coot

Black Skimmer

Virginia Rail

Horned Grebe

Belted Kingfisher

Common Tern

Herring Gull

Common Loon

Brown Pelican

Glossy Ibis

Great Blue Heron

Hillman provides detailed instructions on how to choose and prepare the wood, and how to proceed with various parts of the body, including feet for the standing birds. Six of the templates here are life-size, and the remainder include notes providing full-size dimensions; many of these carvings can be made from a single piece of wood. All patterns have top, front, and side views to aid in maintaining proportions.

Carving Water Birds is an accurate and easy-to-use guide for carvers of all abilities to use in creating some of the best-known birds of watery domains.

Be sure to add other guides by Anthony Hillman, published by Echo Point Books, to your library: Painting Duck Decoys, Carving Miniature Duck Decoys, Painting Shorebird Decoys, Carving Favorite Songbirds, and Carving Traditional Fish Decoys.

Knifemaking has become one of the USA's fastest growing hobbies. This is a book that every knifemaker would love to have.

Antler Knife's detailed step-by-step instructions concern 1) selecting and preparing the material for the knife's handle and sheath (e.g., the antler, the leather, the wood and the bark), then 2) using the material to build a classic and authentic antler knife the Scandinavian way. Most of the comprehensive and valuable instructions in this book, whose author lives in northern Sweden, concern the intricacies of working with antler, a subject in which the author has over 50 years of experience. The instructions will help you to avoid mistakes and to learn important procedures, tricks and tips so you can develop your own style.

Although the author uses reindeer antler for this knife, he explains you could also use moose or caribou antler.

The author says, I hope this book will lower the reader's learning threshold for working with antler, easing the knifemaker into this amazing hobby, and inspire readers to use their imagination and do something new.

An up-to-date survey of the stunning sculpture collection at the Sydney and Walda Besthoff Sculpture Garden at the New Orleans Museum of Art (NOMA)

Situated on twelve lush, landscaped acres, the New Orleans Museum of Art's Sydney and Walda Besthoff Sculpture Garden is home to significant neoclassical, modern, and contemporary sculptures, ranging from the 19th to 21st centuries.

Since its inception in 2003, the garden has grown to include 100 sculptures, donated by the Sydney and Walda Besthoff Foundation. One of the most globally renowned sculpture gardens, complete with a sculpture pavilion, an amphitheatre, and an architecturally significant canal link bridge, the Sydney and Walda Besthoff Sculpture Garden is free to the public. Throughout the year, NOMA hosts outdoor programs in the garden including festivals, performances, concerts, tours, and more.

A celebration of more than 20 years of the collection, this vibrant survey examines the history of the award-winning garden and profiles the magnificent artworks of one of the foremost sculpture gardens in the United States.

Artists featured in the book and the collection include Auguste Rodin, Henry Moore, Louise Bourgeois, Fred Wilson, Ursula von Rydingsvard, Claes Oldenburg, George Segal, Frank Stella, Sean Scully, Maya Lin, Do Ho Suh, Ugo Rondinone, Wangechi Mutu, Pierre-Auguste Renoir, Hank Willis Thomas, Robert Indiana, Frank Gehry, and many others.

From architectural space to narrative dynamics: a brilliant new conception of sculpture's unique modalities

While discussions about installation art or other three-dimensional art forms are widespread, the discourse on sculpture seems to be stuck in historical or thematic frameworks. Drawing from literature, philosophy, psychoanalysis and architecture, Ernst van Alphen explores seven logics of sculpture: the Logic of Inner Necessity; the Logic of Narration; the Logic of Space; the Logic of Volume; the Logic of Assemblage; the Logic of Architectural Space; and the Non-Logic of Singleness. These themes articulate the modalities specific to sculpture in a fresh and brilliant conception. Artists discussed include Carl Andre, Louise Bourgeois, Constantin Brâncusi, Joseph Cornell, Marcel Duchamp, Eva Hesse, Donald Judd, Sol Lewitt, Franz Xaver Messerschmidt, Michelangelo, Bruce Nauman, Meret Oppenheim and Rachel Whiteread.
Ernst van Alphen (born 1958) is a cultural theorist and a professor emeritus of literary studies at the Leiden University Centre for the Arts in Society. He is the author of Failed Images (Valiz, 2018) and Staging the Archive (Reaktion Books, 2014), and the editor of Shame! and Masculinity (Valiz, 2020).

Magnificent and haunting, the tall cedar sculptures called totem poles have become a distinctive symbol of the native people of the Northwest Coast. The powerful carvings of the vital and extraordinary beings such as Sea Bear, Thunderbird and Cedar Man are impressive and intriguing.

Looking at Totem Poles is an indispensable guide to 110 poles in easily acessible outdoor locations in coastal British Columbia and Alaska. In clear and lively prose, Hilary Stewart describes the various types of poles, their purpose, and how they were carved and raised. She also identifies and explains frequently depicted figures and objects.

Each pole, shown in a beautifully detailed drawing, is accompanied by a text that points out the crests, figures and objects carved on it. Historical and cultural background are given, legends are recounted and often the carver's comments or anecdotes enrich the pole's story. Photographs put some of the poles into context or show their carving and raising.

This book is a companion volume to Hilary Stewart's enormously successful Looking at Indian Art of the Northwest Coast.

The definitive survey of the British sculptor who generated cheeky constructions from low-grade materials

For over 50 years, British artist Phyllida Barlow (1944-2023) created imposing installations and sculptures marked by their distinct tonal balance--both menacing and playful, formidable and absurd. Her large-scale, yet anti-monumental (her own words) sculptures are constructed with inexpensive, low-grade materials such as cardboard, fabric, plywood, polystyrene, scrim, plaster and cement. Treated with a loose application of vibrantly hued paints, her sculptures often reveal the seams of their materiality. Upon witnessing the ruin and reconstruction of postwar London, Barlow developed an eye wryly trained toward industrial society, in all its gloom and whimsy. In her practice, Barlow transmuted her observations, producing tactile, seemingly precarious sculptures that stretch the limits of mass, volume and height as they block, straddle and balance. This definitive retrospective publication covers the full span of Barlow's career and demonstrates her range in style and approach.

This book was published in conjunction with Fruitmarket Gallery

Louise Bourgeois (1911-2010) was one of the most influential artists of the past century. Louise Bourgeois: Has the Day Invaded the Night or Has the Night Invaded the Day? explores the powerful emotional and formal tensions that drove Bourgeois's extraordinary art: between night and day, rage and tenderness, need and resistance, geometry and gesture, anxiety and calm, fear and ferocity.

Spanning the seven decades of Bourgeois's career and featuring more than 120 works from intimate watercolors to large sculptures by the artist, Louise Bourgeois brings home the sense of perpetual and productive crisis--of the works as crises--that characterize Bourgeois's long life in art. Richly illustrated, the book features new writing by the curator and commissioned authors that offer critical insight into Bourgeois's practice as well as personal insights.

Published to commemorate David Hammons's (b. 1943) public art project Day's End, located in New York City, this book documents the sculpture and offers broader context into Hammons's enigmatic work. In 2014, Hammons sent the Whitney Museum of American Art a sketch for a monument to Gordon Matta-Clark (1943-1978), paying homage to Matta-Clark's legendary Day's End (1975)--an industrial, cathedral-like space of altered architecture--once located near today's Whitney in Manhattan's Meatpacking District. Completed in 2021, Hammons's work, also titled Day's End, was realized by the Whitney in collaboration with Hudson River Park, and is on permanent view. One of the most important artists working in the United States, Hammons makes art across mediums, often outside traditional venues. In addition to photographic documentation, the book includes essays on the origins of Day's End, Hammons's career scope, and a contribution by poet Ben Okri.

Distributed for the Whitney Museum of American Art