Showcasing the work of an exciting group of contemporary artists, this book reflects the trends shaping art in the United States today.

Presenting the latest iteration of this crucial exhibition, always a barometer of contemporary American art The 2022 Whitney Biennial is accompanied by this landmark volume. Each of the Biennial's participants is represented by a selected exhibition history, a bibliography, and imagery complemented by a personal statement or interview that foregrounds the artist's own voice. Essays by the curators and other contributors elucidate themes of the exhibition and discuss the participants. The 2022 Biennial's two curators, David Breslin and Adrienne Edwards, are known for their close collaboration with living artists. Coming after several years of seismic upheaval in and beyond the cultural, social, and political landscapes, this catalogue will offer a new take on the storied institution of the Biennial while continuing to serve--as previous editions have--as an invaluable resource on present-day trends in contemporary art in the United States.

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The Museum of Modern Art is known for its prescient focus on the avant-garde art of Europe, but in the first half of the twentieth century it was also acquiring work by Stuart Davis, Georgia O’Keeffe, Charles Sheeler, Alfred Stieglitz, and other, less well-known American artists whose work sometimes fits awkwardly under the avant garde umbrella. American Modern presents a fresh look at MoMA’s holdings of American art from that period. The still lifes, portraits, and urban, rural, and industrial landscapes vary in style, approach, and medium: melancholy images by Edward Hopper and Andrew Wyeth bump against the eccentric landscapes of Charles Burchfield and the Jazz Age sculpture of Elie Nadelman. Yet a distinct sensibility emerges, revealing a side of the Museum that may surprise a good part of its audience and throwing light on the cultural preoccupations of the rapidly changing American society of the day.

Documents significant and pioneering exhibitions that took place between 1962 and 2002.

A welcome introduction to this complex artist's entire career, featuring seventy of his best works from public and private collections.

Timeless Painting presents the work of 17 contemporary painters whose works reflect a singular approach that is peculiarly of our time: they are a-temporal, a term coined by William Gibson and Bruce Sterling, the originators of the cyberpunk aesthetic. A-temporality or timelessness manifests itself in painting as an ahistoric free-for-all, where contemporaneity as an indicator of new form is nowhere to be found, and all eras co-exist. Published to accompany an exhibition at The Museum of Modern Art that explores the impact of this cultural condition on contemporary painting, this publication features work by an international roster of artists including Joe Bradley, Kerstin Brätsch, Matt Connors, Nicole Eisenman, Mark Grotjahn, Charline von Heyl, , Julie Mehretu, Oscar Murillo, Laura Owens and Josh Smith, among others. An overview essay by curator Laura Hoptman is divided into thematic chapters that explore topics such as re-animation and reenactment, recontextualization, 'Zombie' painting, and the concomitant 'Frankenstein approach', which describes a process of stitching together pieces of the history of painting to create a work of art that would be dead but for its juxtaposed parts, all working in association with one another to propel the work into life.

Summary: This publication presents a wealth of in part unknown colored works on paper by Josef Albers (1888-1976), documented for the first time. It was not until the German-born artist emigrated to the U.S. that he emerged as a prominent artist and influential teacher. Beginning in about 1940, Albers allowed himself to be inspired by Mexico's pre-Columbian architecture, sculpture and textile art, which led to a liberation of his aesthetic sensibilities and to unconventional, radiant pitches of color, the likes of which modern painting in Europe had never seen before. In ca. 1950, he discovered the square, in his eyes the ideal form for color. He was both a resolute painter as well as a color philosopher. Each of the works on paper presented here arouses a sensuous fascination for the phenomenality of color.