Abe's Penny Micro-Magazine
Abe's Penny

Limited Edition Art Journal of new photography and literature featuring photography by Sanford Biggers and text by Anike Robinson.


Agnieszka Kurant: exformation
SculptureCenter Publications

SculptureCenter is pleased to present the first solo exhibition in the United States by Polish artist Agnieszka Kurant. Kurant's work explores the hybrid status of objects and the ways in which rumors and fictions become phantom capital and enter into social, economic, and political systems of the contemporary world. This publication, featuring text by Diedrich Diederichsen and Curator Mary Ceruti, accompanies the exhibition.


Aki Sasamoto: Delicate Cycle

Working at the intersection of performance and sculpture, Sasamoto creates object scenarios out of narratives and actions. For her exhibition in SculptureCenter's lower level galleries, her first solo show in a U.S. museum, Sasamoto has created a new body of work in relation to the site. This fully illustrated publication includes texts by SculptureCenter Curator Ruba Katrib and Jody Graf, a New York-based writer and curator, with a contribution by Sasamoto.


Anthea Hamilton: Lichen! Libido! Chastity!

Anthea Hamilton features new and existing works for her first solo museum exhibition in the United States. Investigating cultural appropriation and pop culture, Hamilton mines countercultures in music, fashion, and design (such as disco in the 1970s) and their entrance into the mainstream. Hamilton questions the representation of cultural phenomena through popular media in her sculptures and videos.


Araya Rasdjarmrearnsook

SculptureCenter is pleased to present Araya Rasdjarmrearnsook, the Thai artist's first retrospective in the United States. The exhibition is accompanied by a catalog featuring texts by Ruba Katrib, SculptureCenter Curator, and Arnika Fuhrmann, a scholar focused on the aesthetic and political modernities of Southeast Asia.


Ariella Azoulay: The Civil Contract of Photography
Zone Books

In this compelling work, Ariella Azoulay reconsiders the political and ethical status of photography. Describing the power relations that sustain and make possible photographic meanings, Azoulay argues that anyone—even a stateless person—who addresses others through photographs or is addressed by photographs can become a member of the citizenry of photography. The civil contract of photography enables anyone to pursue political agency and resistance through photography.

Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history. The crucial arguments of her book concern two groups with flawed or nonexistent citizenship: the Palestinian noncitizens of Israel and women in Western societies. Azoulay analyzes Israeli press photographs of violent episodes in the Occupied Territories, and interprets various photographs of women—from famous images by stop-motion photographer Eadweard Muybridge to photographs from Abu Ghraib prison. Azoulay asks this question: under what legal, political, or cultural conditions does it become possible to see and to show disaster that befalls those who can claim only incomplete or nonexistent citizenship?

Drawing on such key texts in the history of modern citizenship as the Declaration of the Rights of Man together with relevant work by Giorgio Agamben, Jean-Francoise Lyotard, Susan Sontag, and Roland Barthes, Azoulay explores the visual field of catastrophe, injustice, and suffering in our time. Her book is essential reading for anyone seeking to understand the disasters of recent history—and the consequences of how these events and their victims have been represented.


Better Homes

Better Homes (April 22-July 22, 2013), a group exhibition of artists examining the construction of the interior, is accompanied by a full color publication with a text by SculptureCenter Curator Ruba Katrib and a contribution by poet Ariana Reines.

Featured artists include: Jonathas de Andrade, Neïl Beloufa, Keith Edmier, LaToya Ruby Frazier, Robert Gober, Tamar Guimarães, Anthea Hamilton, E’wao Kagoshima, Yuki Kimura, KwieKulik, Paulina Olowska, Kirsten Pieroth, Josephine Pryde, Carissa Rodriguez, Martha Rosler, and Güneş Terkol


Cercle d'art des travailleurs de plantation congolaise
Sternberg Press

Cercle d'art des travailleurs de plantation congolaise (FR/ENG), edited by Eva Barois De Caevel and Els Roelandt, offers a first report on the activities of the CATPC in Lusanga. A unique gathering of individuals, an atelier, and an experimental test garden, the CATPC is an exceptional contemporary practice for rethinking postcolonial power relations within the global art world.


Cercle d'Art des Travailleurs de Plantation Congolaise

The Cercle d'Art des Travailleurs de Plantation Congolaise (CATPC) is an art collective founded in 2014 in the Democratic Republic of the Congo. First molded from clay and then cast in chocolate, CATPC's sculptures are made collaboratively and their materials refer back to and overwrite the exploitative economics of global trade. So far plantation labor has funded the art world; here art funds the emergence of a new type of post-plantation. The CATPC reinvests profits from sales of these artworks in self-owned agricultural production throughout Congo, provoking questions about the division between those who should work on plantations and those who are allowed to reflect on this.

Plantation workers Djonga Bismar, Matthieu Kilapi Kasiama, Cedrick Tamasala, Mbuku Kimpala, Mananga Kibuila, Jérémie Mabiala, Emery Mohamba, and Thomas Leba, ecologist René Ngongo, and the Kinshasa-based artists Michel Ekeba, Eléonore Hellio, and Mega Mingiedi are the CATPC's leading personalities. In collaboration with their sister organization the Institute for Human Activities (IHA), founded by Dutch artist Renzo Martens and active in the Congo since 2012, CATPC is currently building the Lusanga International Research Center for Art and Economic Inequality (LIRCAEI) on a former Unilever plantation in Lusanga, Democratic Republic of the Congo.


Cosima von Bonin: Who's Exploiting Who in the Deep Sea?

Who's Exploiting Who in the Deep Sea?, Cosima von Bonin's first solo museum exhibition in New York City, examines the German artist's fascination with the sea. Commonly evoked in her works, but rarely made explicit, the ocean is an organizing thematic for this show that focuses on a selection of her sculptures from 2000 onwards.


David Joselit: After Art
Princeton University Press

Art as we know it is dramatically changing, but popular and critical responses lag behind. In this trenchant illustrated essay, David Joselit describes how art and architecture are being transformed in the age of Google. Under the dual pressures of digital technology, which allows images to be reformatted and disseminated effortlessly, and the exponential acceleration of cultural exchange enabled by globalization, artists and architects are emphasizing networks as never before. Some of the most interesting contemporary work in both fields is now based on visualizing patterns of dissemination after objects and structures are produced, and after they enter into, and even establish, diverse networks. Behaving like human search engines, artists and architects sort, capture, and reformat existing content. Works of art crystallize out of populations of images, and buildings emerge out of the dynamics of the circulation patterns they will house.

Examining the work of architectural firms such as OMA, Reiser + Umemoto, and Foreign Office, as well as the art of Matthew Barney, Ai Weiwei, Sherrie Levine, and many others, After Art provides a compelling and original theory of art and architecture in the age of global networks.


Erika Verzutti: Swan with Stage

Erika Verzutti presents a new body of sculptures and images in her first solo exhibition in New York City. Working between synthetic and organic materials, Verzutti creates hybrid objects and situations that interrogate relationships between forms and bodies. The exhibition is accompanied by a catalog featuring a text by Ruba Katrib, SculptureCenter Curator.


Gabriel Sierra: Numbers in a Room

Gabriel Sierra has created a new group of work in SculptureCenter's lower level galleries for his first solo museum exhibition in New York City. Working site-specifically, Sierra follows the architecture and design logic and functions of interior spaces. Using narrative as a guiding principle, he creates frameworks that reconfigure the scale and geometry of the space and its objects.


Hi, what are you doing? J' ...chillin' ...
Rona Yefman
Sommer Contemporary Art


How Does it Feel?
Inquiries into Contemporary Sculpture
SculptureCenter & Blackdog Publishing

SculptureCenter's series of books titled Inquiries into Contemporary Sculpture is a dedicated examination into what working sculpturally means today. This three-part book project takes an earnest look at what constitutes, excites, entangles, and necessitates ideas and questions around sculpture now. The second volume is titled How Does it Feel? and examines sensory aspects of contemporary sculpture that go beyond the visual. The publication circles sculpture?s affective range and bodily evocations.

How Does it Feel? is co-published with Black Dog Publishing, London, UK and edited by Mary Ceruti and Ruba Katrib with contributions by: Tauba Auerbach, Alexander Dumbadze, Casey Jane Ellison, Lawrence Abu Hamdan, Gelitin, Liz Glynn, Rochelle Goldberg, Ruba Katrib, Josh Kline, Adriana Lara, Lars Bang Larsen, Lynn Hershmann Leeson, Chus Martínez, Jeanine Oleson, Magali Reus, Aki Sasamoto, Jenni Sorkin, Jennifer Teets, Anicka Yi, and Mika Yoshitake.


In Practice: Fantasy Can Invent Nothing New

Annual open-call exhibition for emerging artists with a focus on the production of new work. The title of this exhibition, taken directly from Freud's lecture on dreams, is a sentence stopped midway. He completes the thought by stating that the creative process of the mind can only regroup elements from already existing sources—that any one creative fantasy is a work of translating what one knows of reality into an imaginary space. The exhibition, organized from proposals for new work submitted through SculptureCenter's annual open call, borrows from the operation of the dream composite—what Freud termed "condensation"—to foreground practices that employ the means of combining and blending often contradictory elements into a collective image. The artists in the exhibition each propose fantastical places or narratives that are differentiated by distinct material approaches.


In Practice: Material Deviance

Annual open-call exhibition for emerging artists with a focus on the production of new work. Informed by encounters with the quotidian, unassuming stuff of life and its circulation, the artists included in Material Deviance connect material and bodily processes with social and infrastructural ones. The artists look to irregularities, glitches, gaps, residues, and altered states - either found or enacted - as a means of accessing the latent histories of materials in order to expose underlying systems of power, regulation, value, and control. While these systems inevitably shape the movement of bodies through the world (both at the level of the individual and the social), the works on view reveal the cracks where counter-movements and improvisational modes of being and perceiving are possible.

The exhibition features newly commissioned works by Lauren Bakst & Yuri Masnyj, Olivia Booth, Kim Brandt, Crystal Z Campbell, Danielle Dean, Ilana Harris-Babou, Jesse Harrod, Candice Lin and Patrick Staff, Virginia Lee Montgomery, Kate Newby, Barb Smith, Marian Tubbs, and Jessica Vaughn.

In Practice: Material Deviance is curated by SculptureCenter's 2017 Curatorial Fellow Alexis Wilkinson.


Inquires Into Contemporary Sculpture
3-Book Set
SculptureCenter & Blackdog Publishing

SculptureCenter's series of books titled Inquiries into Contemporary Sculpture is a dedicated examination into what working sculpturally means today. The project takes an earnest look at what constitutes, excites, entangles, and necessitates ideas and questions around sculpture now.

This 3-book set includes each volume of the series so far: Where is Production?, What About Power?, and How Does it Feel?

Inquires Into Contemporary Sculpture is co-published with Black Dog Publishing, London, and edited by Mary Ceruti and Ruba Katrib.


Judith Hopf Limited Edition Tote Bag

Related to her sculptural work in Puddle, pothole, portal, Judith Hopf has created this limited edition tote bag featuring some of her charming sheep. Printed on Eco-friendly canvas.



RANSOM ROOM, Liz Glynn's first solo project in a New York museum, is a continually evolving installation exploring the ramifications of cultural destruction.


Magali Reus: Spring for a Ground

SculptureCenter is pleased to present a new body of work by Dutch-born, London-based artist Magali Reus. Spring for a Ground is Reus' first solo museum exhibition in the United States. The exhibition is accompanied by a catalog featuring a text by Ruba Katrib, SculptureCenter Curator.


Magali Reus: Spring for a Ground / Particle Of Inch / Halted Paves / Quarters
Mousse Publishing, Milan

In the spring of 2015, Magali Reus (born 1981 in the Hague, the Netherlands; based in London) opened the first in a series of four exhibitions of new work co-commissioned and presented by SculptureCenter, New York; Hepworth Wakefield, England; Westfälischer Kunstverein, Münster, Germany; and Fondazione Sandretto Re Rebaudengo, Turin, Italy. The culmination of these collaborative projects is documented in this publication, marking an important chapter in the evolution of Reus' work.


Michael E. Smith: -

SculptureCenter is pleased to announce Michael E. Smith's first major solo museum exhibition in the United States. The exhibition presents new works created specifically for SculptureCenter's lower level galleries. These new sculptures and videos further Smith's investigation into the complex existence of things. The exhibition is accompanied by a catalog featuring a text by Ruba Katrib, SculptureCenter Curator.


Michael Taussig: Mimesis and Alterity

In Mimesis and Alterity Taussig undertakes and eccentric history of the mimetic faculty. He moves easily from the nineteenth-century invention of mimetically capacious machines, such as the camera, backwards to the fable of colonial "first contact" alleged mimetic prowess of "primitives," and then forward to contemporary time, when the idea of alterity is increasingly unstable. Utilizing anthropological theory, Taussig blends Latin American ethnography and colonial history with the insights of Walter Benjamin, Adorno and Horkheimer. Vigorous and unorthodox, Taussig's understanding of mimesis in different cultures deepens our meaning of ethnography, racism and society.


Rochelle Goldberg: The Plastic Thirsty

SculptureCenter is pleased to announce the first solo institutional exhibition by Rochelle Goldberg. Born in Vancouver, Canada, she is currently based in New York City. This fully illustrated publication contains an essay by SculptureCenter Curator Ruba Katrib.


Rossella Biscotti, David Douard, Radamés "Juni" Figueroa "Juni" Figueroa, and Jumana Manna

SculptureCenter presents new work by four artists, Rossella Biscotti: The Undercover Man, David Douard: )juicy o'f the nest, Radamés "Juni" Figueroa: NAGUABO RAINBOW DAGUAO ENCHUMBAO FANGO FIREFLIES, and Jumana Manna: Menace of Origins, each artist to have a solo project in an U.S. institution for the first time.


Sanford Biggers: Sweet Funk - An Introspective
Brooklyn Museum

New York-based artist Sanford Biggers challenges and reinterprets symbols and legacies that inform contemporary America. This exhibition, a focused selection of thirteen pieces, is Biggers' first museum presentation in New York. It also marks the Brooklyn debut of Blossom (2007), a large-scale multimedia installation that incorporates references ranging from lynchings to Buddha's enlightenment under the bodhi tree. The book features illuminating essays by Eugenie Tsai, John and Barbara Vogelstein Curator of Contemporary Art at the Brooklyn Museum, and the noted critic Gregory Volk.


Simon Gikandi: Slavery and the Culture of Taste
Princeton University Press

It would be easy to assume that, in the eighteenth century, slavery and the culture of taste—the world of politeness, manners, and aesthetics—existed as separate and unequal domains, unrelated in the spheres of social life. But to the contrary, Slavery and the Culture of Taste demonstrates that these two areas of modernity were surprisingly entwined. Ranging across Britain, the antebellum South, and the West Indies, and examining vast archives, including portraits, period paintings, personal narratives, and diaries, Simon Gikandi illustrates how the violence and ugliness of enslavement actually shaped theories of taste, notions of beauty, and practices of high culture, and how slavery's impurity informed and haunted the rarified customs of the time.

Gikandi focuses on the ways that the enslavement of Africans and the profits derived from this exploitation enabled the moment of taste in European—mainly British—life, leading to a transformation of bourgeois ideas regarding freedom and selfhood. He explores how these connections played out in the immense fortunes made in the West Indies sugar colonies, supporting the lavish lives of English barons and altering the ideals that defined middle-class subjects. Discussing how the ownership of slaves turned the American planter class into a new aristocracy, Gikandi engages with the slaves' own response to the strange interplay of modern notions of freedom and the realities of bondage, and he emphasizes the aesthetic and cultural processes developed by slaves to create spaces of freedom outside the regimen of enforced labor and truncated leisure.

Through a close look at the eighteenth century's many remarkable documents and artworks, Slavery and the Culture of Taste sets forth the tensions and contradictions entangling a brutal practice and the distinctions of civility.


The Eccentrics

The figure of the "eccentric"—a term for Russian circus performers used in the early 20th century—refers to the clowns, magicians, and acrobats who were the forerunners to the comic actors that inhabited the newly created space of film. A mode of popular entertainment that links ancient and modern technologies, the structural, emotional, and cognitive effects of the circus operate as an abstract framework for this group exhibition and performance program. This fully illustrated publication contains texts by SculptureCenter Curator Ruba Katrib and curator and writer Mark Beasley.


Thirty-Three Stories about Reasonable Characters in Familiar Places
Iman Issa

Written by the artist, the book Thirty Three Stories About Reasonable Characters in Familiar Places (2011) comprises a series of vignettes that examine events occurring in highly specific sites. The book was presented in the space for Short Srories, Part One: Iman Issa and Ben Schumacher.


Time Again

Time Again is accompanied by an exhibition catalog featuring texts by Richard Aldrich, Moyra Davey, Jacob King, William E. Jones, Isla Leaver-Yap, Fionn Meade and Steve Roden. With a special contribution by NOVEL.


Tue Greenfort: Garbage Bay
SculptureCenter Publications

SculptureCenter is pleased to announce the first US solo exhibition of Danish artist Tue Greenfort, whose interdisciplinary practice deals with the overlap of public and private realms, natural and cultural history. The exhibition is accompanied by a full color publication with a text by SculptureCenter Curator Ruba Katrib and writer and curator Adam Kleinman.


What About Power?
Inquiries into Contemporary Sculpture
SculptureCenter & Blackdog Publishing

SculptureCenter's series of books titled Inquiries into Contemporary Sculpture is a dedicated examination into what working sculpturally means today. This three-part book project takes an earnest look at what constitutes, excites, entangles, and necessitates ideas and questions around sculpture now. The second volume is titled What about Power? and looks at the contemporary intersections of power and sculpture. From ritual to monument, sculpture has been embedded within various power dynamics, whether political, spiritual, erotic, or otherwise.

What about Power? is co-published with Black Dog Publishing, London, UK and edited by Mary Ceruti and Ruba Katrib with contributions by: Rosella Biscotti, Gregg Bordowitz, Tom Burr, María del Carmen Carrión, Herman Chong, Dominic Eichler, Malik Gaines, Gordon Hall, Anthea Hamilton, Jörg Heiser, Andria Hickey, Candice Hopkins, Chris Kraus, Margaret Lee, Jumana Manna, Araya Rasdjarmrearnsook, Carissa Rodriguez, Katy Siegel, Susanne Winterling, Emiliano Valdéz, and W.A.G.E.


Where is Production?
Inquires Into Contemporary Sculpture
SculptureCenter & Blackdog Publishing

SculptureCenter's new series of books titled Inquiries into Contemporary Sculpture is a dedicated examination into what working sculpturally means today. This three-part book project takes an earnest look at what constitutes, excites, entangles, and necessitates ideas and questions around sculpture now. The first volume is titled Where is Production? and looks at the increasingly multifaceted modes and sites of production in contemporary sculpture. What does "production" encompass today, and how does it inform and lead sculptural practice?

Where is Production? is co-published with Black Dog Publishing London UK and edited by Mary Ceruti and Ruba Katrib with contributions by: Ei Arakawa, Darren Bader, Nina Beier, Carol Bove, Ian Cheng, Brian Droitcour, Tue Greenfort, Camille Henrot, Miki Kaneda, Ruba Katrib, Michelle Kuo, Pablo León de la Barra, Shahryar Nashat, Gabi Ngcobo, Trevor Paglen, Pavel S. Pys, Joao Ribas, Karin Schneider, Claire Staebler, Francesco Stocchi, and Fred Wilson.


Novel ~ Issue Two

Issue Two contributors include:
Karolin Meunier, Cyprien Gaillard, Mark Leckey, Barry MacGregor, Johnston and Stephen G. Rhodes, Emily Wardill, Paul Chan, Anna Barham, Melanie Gilligan, Nathan Hylden, Karl Holmqvist, Nicholas Byrne, Ryan Gander, Simon Denny, Michaela Eichwald, Oscar Tuazon, Henri Chopin, Ed Atkins, Christoph Buchel

Novel draws together artists writing, texts and poetry that oscillate between modes of fiction and criticism. A cacophony of voices, that is the primary condition of writing, seek to break the habitual methods of representation and productions of subjectivity. Disconnected from any unitary theme these texts coalesce around writing as a core material of a number of artists exploring language and fiction. This fiction acts as a speculative force, no longer defined by what is said, even less by what makes it a signifying thing, but perhaps as a mode that exists parallel to the visual. Here, art writing is an apparatus for knowledge capture, informed by theory, film, politics and storytelling; writing as parallel practice, different, tangential; writing as political fiction; writing as another adventure on the 'skin drive', renegotiating unfulfilled beginnings or incomplete projects - that might offer points of departure. Amidst the insinuated narratives and materialised visions there is a concern for writing and the impossibility of fiction which is at stake. Novel asks us to think of writing as something distinct from information, as at least one realm of cultural production that is exempt from the encompassing obligation to communicate.


Puddle, pothole, portal

Puddle, pothole, portal is accompanied by a full-color publication with texts by Ruba Katrib; Spyros Papapetros, Associate Professor of History and Theory of Architecture at Princeton University; an English translation and reprinting of Serge Daney's 1988 text, "The Last Temptation of the Toons" and a visual essay by Camille Henrot. The publication will be available at SculptureCenter and through ARTBOOK | D.A.P.


Ursula von Rydingsvard: Working
SculptureCenter / Prestel (2011)

This beautifully produced catalog surveys the past thirty years of Ursula von Rydingsvard's immense abstract sculptures, often shaped from cedar beams. Published by SculptureCenter and Prestel to accompany the exhibition Ursula von Rydingsvard: Sculpture 1991-2009.


A Disagreeable Object
SculptureCenter (2012)

A Disagreeable Object (September 15-November 26, 2012), a group exhibition of contemporary artists exploring surrealist impulses, is accompanied by a full color publication with a foreward by SculptureCenter Executive Director Mary Ceruti and an essay by SculptureCenter Curator Ruba Katrib.

Featured artists include: Alisa Baremboym, Alexandra Bircken, Ian Cheng, Talia Chetrit, Martin Soto Climent, FOS, Aneta Grzeszykowska, Camille Henrot, Alicja Kwade, Charles Long, Sarah Lucas, Ann Cathrin November Høibo, Matthew Ronay, Pamela Rosenkranz, Michael E. Smith, Johannes VanDerBeek, Andro Wekua, Susanne M. Winterling and Anicka Yi.


Knight's Move
SculptureCenter (2010)

A survey of new sculpture in New York, Knight's Move is accompanied by an exhibition catalog featuring profiles of the nineteen participating artists, a curator's essay, and design by Chad Kloepfer.

Uri Aran, David Brooks, Carter, Nikolas Gambaroff, Tamar Halpern, Alex Hubbard, Esther Kl™ Daniel Lefcourt, Joanna Malinowska, Ohad Meromi, Virginia Poundstone, Cassie Raihl, Erin Shirreff, Alexandre Singh, Matt Sheridan Smith, Mika Tajima, Tom Thayer, Sara VanDerBeek, Allyson Vieira. Curated by Fionn Meade.


Lara Schnitger: It Ain't Gonna Lick Itself
Anton Kern Gallery (2005)

This publication accompanies the Lara Schnitger exhibition held at Anton Kern Gallery, New York, Sep 8-Oct 9, 2005. In conjunction with the installation Blacks on Blondes held at Triple Candie, New York, Sep 11-Oct 9, 2005. Foreward by Lisa Mark.


Charta (2006)

For the past 10 years, John Lovett and Alessandro Codagnone have been working collaboratively as Lovett/Codagnone. Their performance work and video installations explore power relations, both as manifested in explicit cultural signifiers like S/M and in clandestine or unconscious practices. Previous photography-based collaborations displaced gay subcultural signifiers into suburban environments or urban public spaces. In more recent works, the audience is confronted with an appropriation of theatrical fallout, scripted communication that makes up patterns of interaction and dysfunction within family structures. The complexity of human dynamics is explored and re-delivered, often through the distilling of a pose that demands intensity and endurance. Lovett/Codagnone™strenuous performances convey uncomfortable and complex relationships in which the only constant is ever-shifting power roles.


SculptureCenter Tote Bag

Our signature cotton tote bag now available in black and burgundy. Please specify color choice in Customer Notes when placing order.


Dance Beats for Baby
Mike Kelley
Compound Annex

A Voyage of Growth and Discovery
Mike Kelley Presents
Dance Beats for Baby

Audio CD with 14 tracks


Mike's World
Blanton Museum of Art (2007)

Mike's World takes a tightly focused view of a single Michael Smith performance persona, "Mike," as it has developed over the course of many years and through innumerable presentation formats. The character Mike functions metaphorically as a kind of ever-hopeful Candide, adrift in a world of rapid technological advances that he seems incapable of fully comprehending, and stymied by the depersonalization and isolation that have accompanied late twentieth-century life. Ironic in its sharp personification of failure, but also hilarious and poignant, Smith's work mirrors our most human concerns about competency and comfort. Underscoring the hybrid nature of Smith's art, the works reproduced in this colorful paperback book also highlight his last decade of video and installation collaborations with artist-director Joshua White. With contributions by Michael Smith, Jay Sanders, Mike Kelley, Ingrid Schaffner and Regine Basha.


Alice Aycock, Sculpture and Projects
The MIT Press (2005)

"In Alice Aycock: Sculpture and Projects, Robert Hobbs examines the development of Aycock's work over twenty years and her negotiation-along with other artists who came of age in the early 1970s-of the transition from modernism to postmodernism."


Tom Burr: Extrospective, Works 1994-2006
JRP | Ringier (2006)

Edited by Florence Derieux. Texts by Stuart Comer, George Baker, Cerith Wyn Evans.

"Tom Burr (born in 1963, in New Haven, Connecticut) is an American artist whose work--photographs, drawings, sculptures and installations--revisits the formal vocabulary of the avant-gardes of the 1960s, in particular Minimalism and post-Minimalism, and mixes together pop iconography, homosexual culture, underground aesthetics, musical, cinematographic and literary influences and contemporary architecture and design."


Christian Tomaszewski
On Chapels, Caves and Erotic Misery
Kerber Verlag (2007)

"Christian Tomaszewski creates imaginary rooms in which mysterious events might happen. These rooms speak of unfulfilled dreams, wishes and longings. The project On Chapels Caves and Erotic Misery began in 2004 in the Luxe Gallery in Łódź and the Kunstsammlungen Chemnitz and there are to be new versions for the Kunstforum Ostdeutsche Galerie Regensburg and finally for SculptureCenter in New York City 2007."


Print-Out #1
SculptureCenter / Blankbox Projects (2007)

Print-Out #1 was produced by SculptureCenter under the curatorial direction of resident curator Sarina Basta. Print-Out simultaneously acts as a publication and a limited edition, where the reader acts as the editor and a participant in its production. There are four components, an expansive grouping of texts from exciting contemporary artists and writers, image based works, music and readings in CD format, and Quicktime video. Readers are encouraged to print out the texts and images of their choosing.

Print Out is organized by Sarina Basta and Paul-Aymar Mourge d'Algue

Vito Acconci, Cory Archangel, Katia Bassanini, Olaf Breuning, John Giorno, Gareth James, Marie-Eve Jetser, Carl June, Jutta Koether, Maria Mirabel, Olivier Mosset, Paul-Aymar Mourgue d'Algue, New Humans, Nils Norman, Frederic Post, Seth Price, Wilken Schade & Co., Shirina Shabazi, Reena Spaulings, Kelley Walker.


Make It Now: New Sculpture in New York
SculptureCenter (2005)

Make It Now: New Sculpture in New York, a survey exhibition of recent sculpture by New York-based artists, from May 15 -- July 31, 2005. Resulting from extensive research and over two hundred studio visits, this exhibition identified specific new directions in sculpture today. This current generation of artists is locating new currency in art historical styles and aesthetic conventions, from the Baroque to minimalism, from the Classical to Pop. Revisiting traditional forms, these artists use a broad range of materials with invention and provocation and share a practical idealism about art's ability to address belief, politics, identity and human nature. Forward by Mary Ceruti. Essay by Anthony Huberman.


Architectures Of Gender:
Contemporary Women's Art In Poland
National Museum in Warsaw (2003)

Architectures Of Gender: Contemporary Women's Art In Poland, the first group show of Polish art to be mounted in New York since 1976. Conceived and designed specifically for SculptureCenter by one of Europe's foremost curators of contemporary art, Aneta Szylak, it is also the first major introduction of contemporary Polish women artists to the New York public. Many of these artists have never exhibited in the United States before.

Izabella Gustowska, Elzbieta Jablonska, Katarzyna Jozefowicz, Agnieszka Kalinowska, Katarzyna Kozyra, Zofia Kulik, Natalia LL, Dorota Nieznalska, Hanna Nowicka-Grochal, Paulina Olowska, Anna Plotnicka, Jadwiga Sawicka, Dominika Skutnik, Monika Sosnowska, Julita Wojcik, Karolina Wysocka


Jimbo Blachly: 2002 SculptureCenter Prize
SculptureCenter (2003)

For About 86 Springs, Jimbo Blachly exhibited work that explored aspects of landscape and natural history, themes that are recurrent in his work. Based on the book Springs and Wells of Manhattan and the Bronx New York City at the End of the Nineteenth Century by James Reuel Smith (published in 1938 by the New York Historical Society), About 86 Springs reflects on a dialogue between nature and time through sculpture.


Alan Finkel: SkyCube
SculptureCenter (2001)

The 2001 SculptureCenter Prize was awarded to artist Alan Finkel. Rather than mounting a gallery exhibition, SculptureCenter and Finkel hosted a reception and open houses at SkyCube, Finkel's live/work space on the Lower East Side of Manhattan. SculptureCenter also published a catalog, titled SkyCube, documenting three decades of Finkel's work with a beautiful series of texts by Arlene Raven. SkyCube is simultaneously a work of art and architecture and showcases Finkel's practice which often involves gentle interventions or quiet arrangements. Finkel collaborated with architect Michael Schwarting on this project over three years.


Grey Flags
SculptureCenter (2006)


Grey Flags, a catalogue published in conjunction with the exhibition of the same name curated by Anthony Huberman and Paul Pfeiffer. Comprised of nineteen artists with significant individual differences, Grey Flags assembles a group of works that not only resist categorical branding, but also go on in different ways to challenge the very terms of the "arts-apparatus."

John Armleder, Lutz Bacher, Helen Chadwick, Tacita Dean, Claire Fontaine, Liam Gillick, Piero Golia, Michael Krebber, Jonathan Monk, Gabriel Orozco, The Atlas Group / Walid Raad, Allen Ruppersberg, Seth Price, Wilhelm Sasnal, Karin Schneider, Shirana Shahbazi, Kelley Walker, Apichatpong Weerasethakul, Mario Ybarra Jr.