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.

"This lavishly illustrated retrospective of Jasper Johns's work offers a new perspective on the artist's work based on his own enduring fascination with mirroring and doubles"--

A leading activist museum director explains why museums are at the center of a political storm In an age of protest, cultural institutions have come under fire. Protestors have mobilized against sources of museum funding, as happened at the Metropolitan Museum, and against board appointments, forcing tear gas manufacturer Warren Kanders to resign at the Whitney. That is to say nothing of demonstrations against exhibitions and artworks. Protests have roiled institutions across the world, from the Abu Dhabi Guggenheim to the Akron Art Museum. A popular expectation has grown that galleries and museums should work for social change. As Director of the Queens Museum, Laura Raicovich helped turn that New York muni- cipal institution into a public commons for art and activism, organizing high-powered exhibitions that doubled as political protests. Then in January 2018, she resigned, after a dispute with the Queens Museum board and city officials. This public controversy followed the museum’s responses to Donald Trump’s election, including her objections to the Israeli government using the museum for an event featuring Vice President Mike Pence. In this lucid and accessible book, Raicovich examines some of the key museum flashpoints and provides historical context for the current controversies. She shows how art museums arose as colonial institutions bearing an ideology of neutrality that masks their role in upholding conservative, capitalist values. And she suggests ways museums can be reinvented to serve better, public ends.

Providing a crucial record of the painter Noah Davis’s extraordinary oeuvre, this monograph tells the story of a brilliant artist and cultural force through the eyes of his friends and collaborators. Despite his exceedingly premature death at the age of 32, Davis’s paintings have deeply influenced the rise of figurative and representational painting in the twenty-first century. Davis’s emotionally charged work places him firmly in the canon of great American painting. Stirring, elusive, and attuned to the history of painting, his compositions infuse scenes from everyday life with a magical realist atmosphere and contain traces of his abiding interest in artists such as Marlene Dumas, Kerry James Marshall, Fairfield Porter, and Luc Tuymans. This catalogue is born of the unique relationship between Davis and Helen Molesworth, whom Davis entrusted to be the curator of his work. It is published on the occasion of the 2020 exhibition at David Zwirner, New York, which travels to The Underground Museum in Los Angeles, a space that Davis founded with his wife, artist Karon Davis. In her introduction, catalogue essay, and interviews with important figures in Davis’s life, Molesworth shows how the artist’s generosity and sense of responsibility galvanized a uniquely supportive artistic community, culture, and vision. Together with color illustrations and archival photographs, the book features heartfelt testimonials that unfold in the intimate yet expansive spirit of studio visits with people close to him.

Nicholas Galanin's forthcoming artist's book is dedicated to a single work, Never Forget-. This piece, beyond the visual component, is a call to action regarding the Land Back movement to acquire legal title to Indigenous homelands for tribal communities in the United States.

"Friendship, loss and the everyday populate Packer's canvases, full of disquieting detail." -Adrian Searle, The Guardian Through a uniquely textural style of oil painting that evokes the fluidity of watercolors, Jennifer Packer recasts classical genres in a fresh political and contemporary light while keeping them rooted in a deeply personal context. Combining observation, improvisation and memory, Packer's intimate portraits of friends and family members and flower paintings insist on the particularity of the Black lives she depicts. The title of this volume refers to an ecclesiastical description of the insatiable human quest for divine knowledge; with this in mind, Packer's work urges viewers to understand and appreciate the unique dimensions of Black lives beyond just the physical. Richly illustrated, this volume includes texts by fellow painters Dona Nelson and Lynette Yiadom-Boakye, professors Rizvana Bradley and Christina Sharpe, and an interview between the artist and Serpentine Artistic Director Hans Ulrich Obrist. American painter Jennifer Packer(born 1984) grew up in Philadelphia and received her MFA from Yale University in 2012. She was formerly the Artist-in-Residence at the Studio Museum in Harlem (2012-13) and a Visual Arts Fellow at the Fine Arts Work Center in Provincetown, MA (2014-16). She currently works as an assistant professor of painting at the Rhode Island School of Design. Packer is represented by Sikkema Jenkins & Co in New York City, where the artist lives.

Begun in 2014, Njideka Akunyili Crosby's ongoing series, The Beautyful Ones is comprised of portraits of Nigerian children, including members of the artist's family, derived from personal photographs and, more recently, from images taken during her frequent visits to Nigeria, where Akunyili Crosby lived until the age of sixteen.Its title is taken from the 1968 novel by the Ghanaian writer Ayi Kwei Armah, The Beautyful Ones Are Not Yet Born, a book whose influence endured during the artist's adolescence in the 1990s and is still felt today. In it, the author laments the lost idealism of a generation in the 1960s for a better Africa, post-independence.In, The Beautyful Ones the artist reinstates this optimism in her own and subsequent generations while offering a powerful perspective on the complexities of a contemporary diasporic experience.Crosby is one of the most distinctive voices of her generation, and this book, only the second publication on the Los-Angeles based artist. It features extensive illustrations of works in the series and an essay by Siddhartha Mitter, who, reflecting on the work's complex history, weaves together the social, cultural, personal and political strands of its making.Published on the occasion of the exhibition, Njideka Akunyili Crosby: The Beautyful Ones at Victoria Miro, Venice (8 May - 13 July 2019).

This publication spans the multiple generations and forms of media that inform Nicholas Galanin¿s ¿vessels of knowledge, culture and technology¿inherently political, generous, unflinching, and poetic.¿ He creates and speaks through multiple visual, audible, and tactile languages, a practice succinctly articulated through the introduction by artist Merritt Johnson, and further explored in conversation and critical analysis through scholars Negarra A. Kudumu and Erin Joyce. Galanin¿s practice includes numerous collaborations, including with his brother and fellow artist Jerrod Galanin under the moniker Leonard Getinthecar, through his participation in two artist collectives, Black Constellation, and Winter Count, and with the recently-announced group Indian Agent, along with Otis Calvin III, and Zak Dylan Wass¿their first album, Meditations in the Key of Red, was released in 2017.Through two- and three-dimensional works and time-based media, Galanin encourages reflection on cultural amnesia that actively obscures collective memory and acquisition of knowledge. Galanin¿s work has been exhibited extensively nationally and internationally. This is his first monograph.