A limited edition book featuring bird drawings by Billy Sullivan and an essay by Margaret Atwood. The entire edition, published in conjunction with the exhibition BILLY SULLIVAN: BIRD DRAWINGS, consists of 450 copies, 350 in wrappers, and 100 deluxe cloth-bound copies signed by both the writer and artist. Soft Cover; 27 pp; 9 x 6 inches.

In October 2012, Four Freedoms Park—the last design Louis I. Kahn completed before his untimely death in 1974—will open on Roosevelt Island in New York City, over forty years after its commission as a memorial to Franklin D. Roosevelt. Barney Kulok’s black-and-white photographs of the building site function as a meditation on the materiality and formal underpinnings of Kahn’s architectural thinking. Building is at once a historical record and a multilayered visual investigation of form and the subtleties of texture—elements of fundamental importance to Kahn’s philosophies. Published in conjunction with Kulok’s solo exhibition, Building, at Nicole Klagsbrun Gallery, September 13 – October 27, 2012. Includes 49 black and white plates as well as an essay by architect Steven Holl and afterword by filmmaker Nathaniel Kahn. Hardcover; Edition of 1,000; Aperture Foundation: 2012

Catalog of the exhibition Wallace Berman 1926 – 1976 at Nicole Klagsbrun Gallery, November 6 – January 9, 2010. Introduction by Tosh Berman. Essays by Michael Duncan and Andrew Lampert. Features full page images of selected works, installation views, and documentation of performances by John Zorn and a reading by Max Blagg which accompanied a special screening of ‘Aleph’. Full color. Soft cover; 24 pp.

Published on the occasion of Rottenberg’s retrospective exhibition at de Appel Arts Centre, Amsterdam, this first publication on the acclaimed young artist presents a comprehensive overview of her work to date. Video stills, diagrams, drawings and previously unpublished source material are interwoven with essays investigating the work from political, philosophical and historical perspectives. Interviews conducted by the artist with some of the performers provide unique insight into Rottenberg’s process of blending fact and fiction to create her highly original work. Full color. Hard cover; 204 pp. Published by Gregory R. Miller & Co.: 2011

Book published by the artist in conjunction with the exhibition I Am Curious Yellow, installed at the Armory Show booth 731, 2010. 80 pp. with full color insert. Design by Anartservice; Photographs by Cary Whittier. Adam McEwen: 2010.

Book published on the occasion of the artist’s exhibition at Nicole Klagsbrun Gallery, September-October 2009. With essay by Svetlana Alpers and poem by Ron Padgett.

This is the second major publication on Jonathan Callan and was published to coincide with Callan’s solo show at Kudlek van der Grinten Galerie, Cologne. The book includes a broad selection of works by the artist produced between 2002 and 2008, a personal commentary by Martin Kudlek and a conversation between Jonathan Callan and Ryan Gander. Softcover; 96 pp.

The first catalogue on the work of Billy Sullivan, published by Nicole Klagsbrun Gallery and Regen Projects on the occasion of Sullivan’s summer 2007 exhibition at Guild Hall, East Hampton. Includes essay by Brooks Adams. Design by Giampetro+Smith, New York; printed by Type A Print, Toronto. 25 color plates; 52 pp.

Published by Nicole Klagsbrun Gallery in conjunction with Cameron exhibition, January – February 2007. Includes essay by Michael Duncan, excerpts from Cameron’s journal, and 48 color reproductions. Designed by Lorraine Wild and Robert Ruehlman, Green Dragon Office, Los Angeles. Printed by The Studley Press, Massachussetts. 48pp.

Exhibition publication created by the artist in conjunction with his first New York solo show in Spring 2007. Includes essay by Laurie Dahlberg, and 4 black and white reproductions (ranging in size from 11 x 13 to 4 x 5 inches) of works from Simple Facts.

Book published by the artist in conjunction with the exhibition 8.00 for 8.30. Includes Sven Hassel appreciation by Neville Wakefield. 28 pp. Adam McEwen: 2006.

These photographs document a pre-9/11 moment—the officescape of a 24/7 investment bank at the height of the dot-com bubble, where John Pilson worked as a computer graphics operator on the graveyard shift. Using the opportunities provided by the “dead time” of late night and early morning, he began to explore this space using still and video photography. The expected elements are all present: cubicles, fluorescent light, smeared gray carpet, beige boxes. The landscape of New York’s financial district, seen through windows, provides the occasional background. A clue to Pilson’s discoveries here is provided by the title Interregna, “between the reigns,” meaning a period where authority and structure is suspended. This important body of work provides a troubling record of our inability to understand and therefore control the effects of technology and work on our lives. 128 pp, 59 duotone illus. Hatje Cantz: 2006.

Published by Tomio Koyama Gallery in conjunction with the artist’s 2004 solo exhibition. Includes text by Midori Matsui. 128 pp. Tomio Koyama Gallery: 2004.

Born in Brooklyn, Billy Sullivan attended New York’s High School of Art and Design and then the School of Visual Arts during which time he began photographing his fellow artists, family and friends from the art, nightclub and fashion worlds. Over 30 years later, Sullivan has accumulated thousands of images that he views as a visual diary of his life, characterizing the people and things around him. From this archive he creates paintings, pastels and ink drawings, primarily portraits and still lifes, The ARTPIX DVD and CD-ROM document Sullivan’s photos over that period. An image archive is accompanied by an audio interview with the artist by Mark Magill, founder of Bomb Magazine, and an essay by The New Yorker art critic Peter Schjeldahl. DVD & CD-ROM, Artpix: 2002; reissued 2006.

For At Home and in the World, her exhibition at the Palais de Beaux-Arts in Brussels, Elaine Reichek explores and innovates on the tradition of the sampler by recasting works of visual art—including pieces by Georges Seurat, Andy Warhol, Lawrence Weiner, Jenny Holzer, and Barbara Kruger—as well as literary quotations—from Moby Dick, Ovid, Tennyson, Kierkegaard, Woolf and A.S. Byatt, among others—into this form. Uniquely and cleverly designed, this volume documents Reichek’s work in full color. Includes Essay by Lynne Cook. 88 pp. Societe des Expositions du Palais des Beaux-Arts de Bruxelles: 2001.

Features a 1996-99 series of thirty-one embroidered samplers. Traditionally, samplers framed truisms, homilies, and lessons within decorative patterns and motifs. Reichek replaces these familiar sayings with quotations from mythology, literature, science, art history, and popular culture. Punctuating the sequence of samplers are embroideries inspired by works of modernism or contemporary art that resonate with Reichek’s themes. 88 pp. George Brazilier: 2000.

Anthology of writings from sculptor, writer, performance artist and poet Jimmie Durham ranging from an appeal to American Indian nations for strength and unity to his acerbic critism of Western culture and its redemptive myths of the Other. His understanding of historic process and wit challenge complacent attitudes on ‘multiculturalism’ and offer a model on how we may think differently about the world. 255 pp. Kala Press: 1993