Sweet Liberty brings together 15 years of work by painter Dan Colen (born 1979), one of the "bad boys" of the New York art world who emerged onto the scene in the early 2000s alongside artists like Dash Snow and Ryan McGinley. Witty, shocking, poignant and nihilistic, Colen's art presents a portrait of contemporary America and investigates the acts of producing and looking at art. Alongside significant early works such as "Me, Jesus and the Children" (2001-03), this publication features paintings from Colen's long-running Gum and Trash series, as well as four installations in which Colen appropriates imagery from the mass media and American subcultures. This volume marks, in Colen's own words, "the first time I've been able to present the full range of my work and the wide-ranging ideas, crafts, materials, technologies and processes that I engage with."

This book celebrates two new performance pieces and a recent body of paintings by the artist, drawing on desert landscapes, Road Runner cartoons, and Hollywood Westerns.0Bursting with full-color plates and performance stills suffused in a rich desert palette, this volume was published on the occasion of an exhibition of new paintings by Dan Colen and the accompanying premiere of two performance pieces created in collaboration with choreographer Dimitri Chamblas.0Colen's Desert Paintings (2015-19) are lush yet schematic interpretations of stills from Chuck Jones's animated shorts featuring Wile E. Coyote and the Road Runner. These unpopulated depictions of the cartoons' arid settings recall hard-edge abstraction, biomorphic landscapes by Georgia O'Keeffe, and popular art forms such as stage sets, billboards, and the Hollywood Western. The American cowboys who might inhabit these scenes were brought to life in two performances Colen presented with the Desert Paintings as a backdrop. In At Least They Died Together and Carry On Cowboy, figures in full Western regalia repeatedly performed a stylized, convulsive death on a mound of dirt in the gallery. In an insightful essay, Douglas Fogle explores the works' rich interplay of allusions, ultimately placing them in the context of the modern human condition.00Exhibition: Gagosian Galllery, Beverly Hills, USA (02.11-15.12.2018).

New Orleans-based self-taught pop artist Ashley Longshore, known for her bold fashionista portraits and larger-than-life personality, has a massive art-cult following. I Do Not Cook, I Do Not Clean, I Do Not Fly Commercial highlights Ashley's colorful life story and showcases her bejeweled vibrant pop art. Ashley Longshore delivers exactly what her fans are clamoring for: a look at Ashley's big life, her audacious aphorisms, and of course her sumptuous, glittering art in sublime detail. Ashley Longshore's pop-art paintings are always daring; her art makes noise. On any given day, you may catch her in her New Orleans gallery painting with Blake Lively, talking art and fashion with Dapper Dan in New York, or on a remote island in Hawaii painting. A prolific artist, she has been compared to Andy Warhol for her passion with pop-culture figures; but it's her infectious personality and humorous real talk that has captured the hearts of and inspired her devoted fans. Ashley's story also peeks at her major blingy collaborations with brands such as Rolex; luxury cosmetics brand Clé de Peau; Veuve Clicquot; Chloé; Mark Cross; and Judith Leiber, to name only a few. Ashley Longshore tells the stories of the self-proclaimed "urban hippie" in glorious color and detail and features her works, collaborations, and her singular and authentic personality

Text by Kathy Grayson.

Intertwines a dual emphasis on evolving institutional priorities and major shifts in artistic production.

Delivers the inside story on 6,000 years of personal and public space. John Pile acknowledges that interior design is a field with unclear boundaries, in which construction, architecture, the arts and crafts, technology and product design all overlap.

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